Groundhog Day -- Spring 2017? — Page 2

There are patterns that can be seen in the types of musical produced in the West End (NOT fringe) venues and Broadway, as well as the type that are successful in both. There is nothing offensive about saying that, and I say that as someone in the UK. Look at the massive Broadway success of Rent vs. its short run in the West End. Look at the last time an original musical (not an adaptation or jukebox) had a successful run in the West End that wasn't a Broadway transfer. I live in the UK and am constantly frustrated by the state of musicals vs. those in New York and often find myself having to go to fringe theatre in order to be satisfied the way I am when I visit New York and go to big Broadway houses. I personally think there is an element of British theatregoers and critics being pleased that this has been in London first and therefore viewing it positively to start with as a somewhat (but not really) 'British musical'. If it had started on Broadway and transferred, I doubt that there would have been this type of excitement. Perhaps I'm wrong!

Updated On: 9/12/16 at 06:13 PM

Just curious...what makes Ben Platt so special that this is his Tony to lose?

Updated On: 9/12/16 at 08:33 PM

ebontoyan said: "Just curious...what makes Ben Platt so special that this is his Tony to lose?"



He's giving a career defining-Alice Ripley N2N level performance. You have to see it to believe it.

ebontoyan said: "Just curious...what makes Ben Platt so special that this is his Tony to lose?



"



Maybe you should actually go see his Tony Award-winning performance for yourself, then come back and answer your own question.