"Michael Riedel is not a critic, he's an idot." -- Boy George (on TABOO) — Page 2

Your statement that "most" Americans immigrated (BYW, the word is "emigrated") after the 18th Century is incorrect.

If you're claiming that most of America's population's ancestors came here BEFORE 1800, you clearly have no idea what you're talking about. That negates nearly everyone of Italian, Asian, Irish, and everyone else not of Western European descent living in America, in addition to all the people living in this country that identify as Hispanic.

BTW, you immigrate TO America, you emigrate FROM your native country. And WASP means White-Anglo-Saxon-Protestant, so even your lower class farmer family could apply. Please speak not of what you don't know in the future, because anyone that's taken a basic high school US history class can see the inaccuracies in your post.


And Riedel never claims to be a critic, so I'm not sure what Boy George's point was, other than to find an excuse to call him an idiot.

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For more insight on the TABOO drama read Boy George's book STRAIGHT. He gives like 5-6 chapters to Taboo (development, London, Bway, Rosie, Raul, etc). He can be bitchy but at least he seems honest. Who knew Raul's snuffleupagus coat cost 30K? That what Boy says. He even talks about his famous walk out.

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"Love him or hate him, we all read him."

No, we don't.

"One thing Rosie did towards killing the show was to cut scenes which developed characters so that we could know and/or care about them. That was one of the main criticisms back then-that there was no character development."

Hello? Rosie didn't write "Taboo", Charles Busch did. If you're going to disparage Rosie, at least get it right. She might have signed off on the changes but so did Boy George and the director Christopher Renshaw. As for the Riedel fans, please stop with the "he loves theater" bullsh*t. No one who loves theater does what he does. No one who loves theater keeps a track record of a sick performer or tries to ruin a show before it even opens. He's a gossip monger, no more and no less. At least "Show Business: The Road to Broadway" showed the emperor truly has no clothes.

"Hello? Rosie didn't write "Taboo", Charles Busch did. If you're going to disparage Rosie, at least get it right."

Hello? I have it right. And so does Tom Monster.

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What I liked most about Charles Busch's script was that he took a show about some kid named Marcus and made it into a musical about Boy George and Leigh Bowery. For me, the London script focused way too much on the "Marcus" character (I believe he had a different name in London). It seemed like the first half hour of the show was all about him and then he only had a few more scenes later on. The London script also lacked focus for me. There were also entire sections that seemed improved that did nothing for me.

"Seeing that you know all as truth, were you Jane2 and TomMonster part of the production, on set, at rehearsals?"

Yes, we were. We were at all of them. You guessed it!

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See, I think Taboo was better when it was about a boy named Billy who was caught up in the London club scene and they didn't try to BS it by making up characters. He interacted with the likes of Boy George, Leigh Bowery, Philip Sallon, Steve Strange and Big Sue Tilley.

On Broadway...it was too conventional. Not to mention it was not in the right theatre at all. In London, the power of the piece lay in its intimacy. On Broadway, that intimacy was lost.

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