Beanie Feldstein & More to Star in SPELLING BEE at Kennedy Center — Page 2

The standard for what gets deleted on this board has never been consistent in my two decades of posting here. That said, from my observation, deleted posts tend to fall into one of three categories:

a) something particularly harsh is said about a very beloved Broadway actor (usually if it's about their personal life/personality etc. rather than an opinion about a performance)

b) the post is unusually mean towards a particular board member (bullying, name-calling, etc.)

or c) whoever was moderating that day happened to be personally offended and deleted the post simply because they didn't like it and because they can.

Anyway, I am also happy that Beanie is doing a musical again. She isn't a bad singer, and I think the blame lies more on the director and producers of the Funny Girl revival than on her. They never should have put her in that situation to begin with.

Professional rights to produce the show regionally are restricted for 2025, so this is almost certain to be aiming for Broadway.

Licensing companies all have different rules as to what is a “professional” production, but I imagine if professional productions are restricted, it is mostly Equity companies that will not be granted licenses for it.

The Distinctive Baritone said: "Licensing companies all have different rules as to what is a “professional” production, but I imagine if professional productions are restricted, it is mostlyEquity companies that will not be granted licenses for it."

What about a professional company that isn’t an equity one? For example, years ago I lived upstate in Rhinebeck New York and volunteered at the local armature theatre there. There was one season where they were going to do Cats. However, rather than doing it in the fall like they initially planned, they had to move it to the spring. The reason for the change was because the non equity tour of Cats was playing not too far away in West Point. What I’m wondering is, could that fall into the category of different licensing companies having their own definition of what professional is?

Every single licensing restriction is different.

Sometimes first-class rightsholders restrict amateur & professional licenses nationwide, sometimes they only restrict professional theatres, sometimes it's only within a certain radius of NYC.

Sometimes a non-Broadway professional theatre in the region can cause restrictions for amateur licenses for X months before or after.

Sometimes first class rights also get optioned and then nothing happens. That's why it's called an option.

Boy has this thread been edited. Huge parts of it deleted . And for no reason. All of it was benign and just discussion. Very sad that a difference of opinion is not welcome here.

You will get splashes of that mixed with some extremely beautiful harmonies. These aren’t just kids, they’re WEIRD kids.

Kad said: "The ensemble numbers have some of that, but not grating so, but the solos are very well-drawn character studies and as darquegk says they can be very beautiful and musically complex. The show takes its young characters seriously and requires performers to do the same to really work. I think “The I Love You Song” is one of the most heartrending and gorgeous numbers in contemporarymusical theatre."



I agree, one of the most devastating songs in all of musical theater, and such haunting yet beautiful harmonies. It’s so effective because it’s not about death or heart break or something that is obviously tragic…simply a child expressing her need for her parents’ presence and attention, not just “love.” A quiet internal struggle that often goes unnoticed and unspoken. It wrecks me ever time.

Agree with the others weighing in. Though goofy and very funny in spots, it’s also a lovely piece about what weighs on children internally, told through the lens of this competition. And yes, so many years later, I get chills listening to The I Love You Song. I remember tears welling up watching Celia Keenan-Bolger perform it back at CITS. You will never hear the word “chimerical” the same way again. Enjoy!

I hear that they are adding a new song for Beanie!

I'm the Greatest Speller!

HenryTDobson said: "darquegk said: ""What lyrics are you referring to? "

I would guess they’re referring to, “I think he takes out on me what he wants to take out on you.”

I would guess they’re referring to, “I think he takes out on me what he wants to take out on you.”



I've only ever 'read' this lyric as physical abuse. What other meaning could it have?

darquegk said: "It’s a question of, is the taking out emotional neglect/resentment, physical violence or sexual abuse?"

Ah, I see. Makes sense. Thanks!