Yeah, I got a mailer the other day with a promo code in it -- which was interesting, because here in D.C., we very rarely get those for Broadway shows. I just might use that!
MCfan2 said: "Sold out? Wow. My friends and I were planning to do TKTS to see it when we go up, but with all this attention, I'm starting to wonder whether we'd better buy in advance after all!
It's been on TKTS for pretty much every performance, but Broadway Box has a discount available, if you want to get your tickets in advance. Of course, it's not as good as 50% off from TKTS, but the plus is that you're able to pick your seats.
Based on the reviews and two friends seeing it at Paper Mill Playhouse before it transferred to Broadway, I didn't have very high expectations. So I was pleasantly surprised when this turned out to be a totally enjoyable show. The score is good, singing outstanding, and choreography amazing! I kept waiting for it to disappoint, and it didn't. It's just more of a good, old-fashioned Broadway musical with a happy ending. And guess that's more my cup of tea. :)
If “Bandstand” really worked, the finale would find you laughing and crying. Instead, you might just make like the dancers and shrug"
If that is the criteria formulated by the New York Times critic for success, then Bandstand really worked the Sunday that I saw it. The audience bought into the second act with their tears and enormous positive energy directed at the cast. Maybe the fact that it was Memorial Day weekend had an effect.
It will be good when the age of influential theater critics draws towards its end. All but the most egotistical will admit that three people of equal good faith, intelligence and background in theater may attend the same show and come away with three distinct opinions of the show's merits. We are all prejudiced in our reaction to artistic performances based on our education and life experience. To let a rather nasty man like Frank Rich have the power of life and death over the efforts of a hundred dedicated people who work so hard to produce a success never made sense.
Diversity. Not being a member of the wonderful theater community is a great expense, but at least I don't have to bow to the silly and senseless notions that overcome the leadership from time to time. Do I have this right? The King and I, which cast all Asian children, instead should have split the children into equal measures of Asian, African American, Hispanic, and maybe Caucasian? Or maybe I have got that wrong.
Anyone know how Jarrod Spector was in the male part? I know he participated in a workshop/reading. I saw the show recently and surprisingly enjoyed it. There's some great songs.
OlBlueEyes said: "It will be good when the age of influential theater critics draws towards its end. All but the most egotistical will admit that three people of equal good faith, intelligence and background in theater may attend the same show and come away with three distinct opinions of the show's merits. We are all prejudiced in our reaction to artistic performances based on our education and life experience. To let a rather nasty man like Frank Rich have the power of life and death over the efforts of a hundred dedicated people who work so hard to produce a success never made sense."
Well said, and I'm in complete agreement. Ben Brantley is another smug little so-and-so whom I'd often like to slap. Hard.
==> this board is a nest of vipers <==
"Michael Riedel...The Perez Hilton of the New York Theatre scene" - Craig Hepworth, What's On Stage