#1
Posted: 6/10/03 at 10:11pm
Billy Joel opening:
If you're a REAL New Yorker, this moved you to tears. One of NYC's hometown heroes playing in the middle of Times Square, with all the lights and neon reflected in the top of his piano. Kudos to whoever thought up this highly original staging.
"The Brodericks":
He can get away with claiming to be a geek, but it was pretty annoying coming from her. First geek I know to wear a see-through dress. This is typical populist-poseuring by an overexposed celeb. It's become a cliche for supermodels and other glamour gals to claim they were/are geeks. This predilection tends to increase as a celeb gets richer and more hyped (see Jenny From the Block).
Musical numbers:
I was glad to see a return to one entire number instead of a medley (aka a mishmash) from nominated musicals, as Hairspray, Nine, Gypsy, Man of La Mancha did. I'd been complaining for the past few years about all the medleys (sometimes half a dozen songs from one show!), probably done in an attempt to get all featured and lead performers onstage. But you showcase a production much better with one solid number (let those who aren't in it take a bow if you want to get them onstage). The two shows that did medleys, Movin' Out and La Boheme, looked hyperkinetic.
The Kiss:
It's hilarious this occurred right after producers had so obviously frontloaded the show with famous-outside-of-Broadway stars in order to draw in the non-theater crowd. You could just hear advertisers crying, "Aah! We just lost Middle America!"
Def Poetry Jam:
Why did the white guy do most of the talking? Was that part of the aforementioned attempt to keep Middle America tuned in?
I liked the outdoor, what's-wrong-with-America piece (except the miking was faulty), but there should have been only one excerpt from this show.
Omission:
Why no mention of Les Miz's passing?
Brian Stokes Mitchell & Bernadette Peters:
For any newbies who were watching, here's your Broadway musical primer: arguably the greatest female musical role and the greatest male musical role, demonstrated by two performers with star quality to burn and a great Bway pedigree.
Melanie Griffith:
So, what, did she attend every Nine rehearsal and now got herself a job across the street? Looks like somebody wants to make sure her hubby doesn't Guido, if you know what I mean. Jane Krakowski thanking her "for sharing Antonio with us"? When has that ever happened before--people are always winning Tonys, Oscars, Emmys for playing opposite (good-looking) people who are married in real life. Too bad Edie Falco didn't get nominated and win, so she could have thanked Stanley Tucci's wife for sharing him with her.
Overall:
Definitely entertaining. Seemed a lot more vibrant than years past.
If you're a REAL New Yorker, this moved you to tears. One of NYC's hometown heroes playing in the middle of Times Square, with all the lights and neon reflected in the top of his piano. Kudos to whoever thought up this highly original staging.
"The Brodericks":
He can get away with claiming to be a geek, but it was pretty annoying coming from her. First geek I know to wear a see-through dress. This is typical populist-poseuring by an overexposed celeb. It's become a cliche for supermodels and other glamour gals to claim they were/are geeks. This predilection tends to increase as a celeb gets richer and more hyped (see Jenny From the Block).
Musical numbers:
I was glad to see a return to one entire number instead of a medley (aka a mishmash) from nominated musicals, as Hairspray, Nine, Gypsy, Man of La Mancha did. I'd been complaining for the past few years about all the medleys (sometimes half a dozen songs from one show!), probably done in an attempt to get all featured and lead performers onstage. But you showcase a production much better with one solid number (let those who aren't in it take a bow if you want to get them onstage). The two shows that did medleys, Movin' Out and La Boheme, looked hyperkinetic.
The Kiss:
It's hilarious this occurred right after producers had so obviously frontloaded the show with famous-outside-of-Broadway stars in order to draw in the non-theater crowd. You could just hear advertisers crying, "Aah! We just lost Middle America!"
Def Poetry Jam:
Why did the white guy do most of the talking? Was that part of the aforementioned attempt to keep Middle America tuned in?
I liked the outdoor, what's-wrong-with-America piece (except the miking was faulty), but there should have been only one excerpt from this show.
Omission:
Why no mention of Les Miz's passing?
Brian Stokes Mitchell & Bernadette Peters:
For any newbies who were watching, here's your Broadway musical primer: arguably the greatest female musical role and the greatest male musical role, demonstrated by two performers with star quality to burn and a great Bway pedigree.
Melanie Griffith:
So, what, did she attend every Nine rehearsal and now got herself a job across the street? Looks like somebody wants to make sure her hubby doesn't Guido, if you know what I mean. Jane Krakowski thanking her "for sharing Antonio with us"? When has that ever happened before--people are always winning Tonys, Oscars, Emmys for playing opposite (good-looking) people who are married in real life. Too bad Edie Falco didn't get nominated and win, so she could have thanked Stanley Tucci's wife for sharing him with her.
Overall:
Definitely entertaining. Seemed a lot more vibrant than years past.
Updated On: 6/10/03 at 10:11 PM
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