A friendly convict breaks parole. Mischief ensues.
A lesbian discovers her gay dad committed suicide. Mischief ensues.
In the midst of a tense political standoff, a popular preacher is accused of making an outlandish statement. Mischief ensues.
A convicted man returns to his hometown to hunt the two sexual predators who ruined his life. Mischief ensues.
A sponge wears pants. Mischief ensues.
theater_tech said: "Eliminating/reducing “The Private and Intimate Life of the House” and “Natasha & Bolkonskys” in Great Comet. I’ve pondered and observed EVERY aspect of the show yet still can’t wrap my head on the importance of these two songs, especially the former. Maybe someone can help me out."
I don't love those songs myself, and some things about them perplex me too. IMO they don't seem to provide a great lead-in to 'No One Else'; a nasty encounter with a fiance's off-putting family wouldn't lead directly into starry-eyed rhapsodies about the fiance, or not for me anyway. I've only heard the albums, not seen the show, so maybe it makes more sense in context.
But if it helps, I also interpret those songs to be about the limited options for women in that time and place. If a woman was too free and expressive about her sexuality, she would be ruined; but if she was too careful and dutiful, like Mary, life would pass her by, leaving her lonely and 'boring'. Natasha doesn't make the wisest choices in the show, but these songs help a little to show that she is somewhat caught between a rock and a hard place.
(Of course, the songs are also meant to set up that brief later parallel between Bolkonsky Snr and Andrey, when the latter gets vindictive about Natasha during 'Pierre & Andrey'.)
Regarding other shows: I'd change the ending of 'My Fair Lady'.
Stand-by Joined: 6/2/17
I wish that Gypsy act 2 moved faster. Act 1 is perhaps the best written and orchestrated act in any theater I have ever seen, but act 2 is full of forgettable songs and dragged out plot. Wherever we go and Rose's Turn save the act from the space filler You Gotta Get a Gimmick and the dreadfully long Strip scene.
Swing Joined: 9/28/17
I love Les Mis, but I hate how at the end of Stars the moment is ruined with Gavroche coming on stage and singing randomly for thirty seconds. It sounds jarring and clunky coming out of the end of the song and ruins the dramatic moment that we had for Javert (and also cuts off the applause the song usually gets). Honest to god it feels like it was written to cover a scene change. When it wasn't in the Tenth Anniversary Concert I didn't miss it at all.
kdogg36 said: "I would find Waitress far more enjoyable if the character of Ogie were eliminated or, more adventurously, rewritten in a way to give him a fate more fitting of such a creepy stalker."
Another thing I would change about that musical is if there were actual full-fledged songs instead of what seemed like brief introductions whenever Jenna is expressing her inner thoughts. I mean, was Sara Bareilles too lazy to fully musicalize those moments?
theoriginoflove said: "Finding neverland was revised for the tour. JM Barrie has a song at the beginning of Act 1 called “My Imagination”"
Yeah, I saw the tour a few months and had forgotten about that song until you brought it up...one of the most forgettable songs I've encountered (of the shows I've seen, of course, which aren't terribly many). I guess my one (of MANY) fixes to that show would be a more memorable "I want" song.
Remove the semi funny medium from Ghost. Half of the show's scenes are perfect. The other half are unwatchable because of her.
Updated On: 12/2/17 at 05:41 PM
TotallyEffed said: "Both Mimi and Elphaba should die."
I've always thought the same for both shows. It would make each show's ending 50,000 times more powerful.
No show I "despise" could possibly be significantly bettered through one single change.
And I would guess most people would feel the same.
I suggest that a better question might be what single change might make shows we like, or even love, even better.
In musicalfims like Les Miserables, use artists who can actually act through song, instead of act in spite of song.
Elphaba should actually become wicked, and then die.
hork said: "Elphaba should actually become wicked, and then die. "
I think we can all be agreed, she’s wicked through and through.
Dave28282 said: "Remove thesemi funny medium from Ghost. Half of the show's scenes areperfect. The other half are unwatchable because of her."
But she’s needed for the plot? She’s how Sam and Molly are able to communicate with each other.
I didn't hate Kinky Boots, but I would change the book & lyrics to be much more "show, don't tell." The show obviously has a great message, but it made me cringe so hard that said message was spelled out so literally. I wish we could see in their actions that the factory workers have evolved their views without the "accept someone for who they are" challenge plot line and THIS IS THE MESSAGE IN CASE YOU MISSED IT finale.
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