Oscar Isaac and Rachel Brosnahan in THE SIGN IN SIDNEY BRUSTEIN’S WINDOW at BAM — Page 3

JoeW4 said: "I saw the show earlier this week and also loved it.

I posted thoughts on it here.

And FWIW, I'd argue that Brosnahan is splitting the different between her real mannerisms and her Maisel mannerisms. From what I can tell in interviews, her mannerisms in real life are more low-key and contained, and I'm guessing that many of the qualities we associate with "the voice" just naturally come out when she goes into a broader performance mode. But the accent here isn't the same, and the mannerisms aren't quite the same either.

In either case, I thought she was excellent."

Nice review and insights Joew4 - thanks for sharing! :)

sinister teashop said: "CarlosAlberto said: "JoeW4 said: "I saw the show earlier this week and also loved it.

I posted thoughts on it here.

And FWIW, I'd argue that Brosnahan is splitting the different between her real mannerisms and her Maisel mannerisms. From what I can tell in interviews, her mannerisms in real life are more low-key and contained, and I'm guessing that many of the qualities we associate with "the voice" just naturally come out when she goes into a broader performance mode. But the accent here isn't the same, and the mannerisms aren't quite the same either.

In either case, I thought she was excellent."

Nice review and insights Joew4 - thanks for sharing! :)"

Agreed."



Thanks to both of you! I'm flattered :)

I saw this last night and loved it. Terrific performances from Brosnahan, Isaac, and Silverman. I was really fascinated with the structure of the play and Hansberry’s analysis of so many important social concepts of the early 1960s that still feel very relevant today. Yes, the play is a little messy and the end of Act 1 was starting to drag, but I really appreciated how well directed and performed this was. I feel like Isaac and Brosnahan would be leading contenders for Tony Awards if this was on Broadway.



Also, I sat in the Balcony for the first time and really enjoyed the seats. Yes, it is very high, but it still felt very close and I was totally able to see most facial expressions (from Row D). The elevated stage platform probably helps a lot with this production. The audience was a little strange (lots of latecomers, the man next to me reeked of beers), but overall a great experience at the theatre and would highly recommend catching this in the next few weeks.

Andy51 said: "Arguably, these BAM productions should be made eligible for Tony awards: They are in NYC in a space that satisfies the seating capacity requirement and that is largely devoted to theater. Of course, it's not in the "Theater District." But neither is the Vivian Beaumont, and the productions there are nonetheless deemed "on Broadway." Why should some extra subway stops and a bridge make that much difference?"



I think you're missing the key piece of information here, which is that BAM doesn't WANT to be considered a Broadway theatre. I don't believe there's anything preventing** them from being eligible if they wanted to be, but there are advantages to opting out of "Broadway classification" in terms of both cost, and flexibility of programming.

**(I've heard contradictory things about whether geography actually plays into it; some people say that it has to be in Manhattan, but is that actually true? I'm having trouble finding an official source on that from the Bway leage)

I do think there's an argument to be made for expanding Tony eligiblity beyond Broadway, but that's a much larger conversation that would effectively re-imagine what the Tony Awards are, and would come with lots of other logistical concerns.




"

Just got out of the matinee. Agree with all here that there two leads were excellent. Some uneven acting from some of the supporting. I really enjoyed the first act, the second act less so. It also really affected my wife. Said it was the most depressing thing she’d seen in a while and we saw Parade last night