Boosterism, to borrow the term LarryD2 used earlier in this thread, is a major problem in regional theater criticism. And since DC, Chicago, and LA/Southern California have become the major spots for pre-Broadway engagements these days, their chief critics (Marks, McNulty, and Chris Jones) engage in it regularly. Having shows transfer from their cities to Broadway not only makes them look influential, but makes their cities look like viable tryout spots for future musicals and (rarely) plays. Anything with even the whiff of transfer possibility often gets a fawning, uncritical review that makes it sound like the next Hamilton or Dear Evan Hansen.
"You travel alone because other people are only there to remind you how much that hook hurts that we all bit down on. Wait for that one day we can bite free and get back out there in space where we belong, sail back over water, over skies, into space, the hook finally out of our mouths and we wander back out there in space spawning to other planets never to return hurrah to earth and we'll look back and can't even see these lives here anymore. Only the taste of blood to remind us we ever existed. The earth is small. We're gone. We're dead. We're safe."
-John Guare, Landscape of the Body
One of the only reasons I listen to this show's album is because Steven Booth hits a really good high B-flat at the end of the last song. It's also leagues better than In Transit.
I saw from a comment about 2-3 years ago that you saw Glory Days on Broadway and I wanted to know if yous till have the playbill for it because I am trying to frame playbill and I am also paying a lot to buy playbills and I wanted to know if you would give or sell me the playbill, please. I am in desperate need of this very hard time. I hope you and your family re doing well. See ya