** PROMISES, PROMISES OFFICIAL REVIEW THREAD ** — Page 6

I have tix for July 14, will it even be open?

Reminds me of Xanadu when Carpinello was let go once Jackson started receiving overwhelmingly positive buzz, but it took an injury to make it happen.

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"What can you expect from a bunch of seitan worshippers?" - Reginald Tresilian

I have tix for July 14, will it even be open?

It has been doing pretty well at the Box Office. Although we will have to wait till next week to see what effect these reviews have.

My guess is that if the show closes it would be around Labor Day. I doubt the producers would close right before prime-tourist season.

Meryl pretty much had the award in the bag for JULIE & JULIA for several months, what with the sentimentality factor (hasn't won since 1983, but been nominated many times since) and the fact that she got nominated last year and lost. Then THE BLIND SIDE came from nowhere and pitted Sandra Bullock against her.

Nobody is a front-runner during a summer release. Everyone knows the big guns are pulled out over the holiday season and it isn't until then that anyone can begin to have an idea how the Oscars may size up. I don't think there was any conceivable moment Meryl had the award "in the bag".

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I don't think Meryl ever had the Oscar in the bag. Carey Mulligan was a huge threat at one point, so was Gabourey Sidibe. In fact, I'm sure both of those ladies got many, many votes. The second it was announced that Sandra Bullock won the Golden Globe, the race was closed. Unless we see Finneran picking up the Outer Critics Circle and/or the Drama Desk, it's still Lansbury's to lose in my opinion.

~Steven

No way this show has a B- grade, especially with Brantley's anti-love letter.

~Steven

Finian's Rainbow did not get 100% raves. Entertainment Weekly, Time Out New York and New York Observer, all major sources, were mixed at best. And I think you are undercutting La Cage's critical reception to somehow make it appear that Ragtime got a better set of reviews, which it did not.

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The big problem, I think all of us would grudgingly agree, is that the leadership was missing.

Today, there don't seem to be very many "producers" on Broadway.

Today we have "presenters." These are people who raise the money, engage the stars and directorial staff and then stand back and watch the magic happen.

Tell that to David Merrick. He's say "What, are you $^*^ing nuts?" "I put my hand in there."

And boy, did he ever. The job of the producer is to dominate and micromanage and piss people off. It's not a love fest. In many ways, a producer is like a head chef. Watch the show with that British &*&*ard who comes in and rescues kitchens. THAT"S what you want for a producer.

It really is like a restaurant. Everyone thinks it would be fun to be a restaurateur. Stand out front and smile and greet your patrons.

Well, in reality, it's hell-on-earth in a boiling hot environment. If you want to shake hands, get take the job as the host or hostess. If you want to be the top dog, roll up your sleeves and get busy.

Look at how Merrick kept "Hello Dolly" alive and compare it to how the Weisslers are propping up "Chicago" these days. Merrick's idea of "stunt casting" was to replace the entire cast with a black cast and bring in Pearl Bailey. With one swoop, he fired everyone on stage, recast, re-rehearsed and re-mounted the show while it was still running (I bet they didn't miss a performance, "White cast, the door's over there, prop it open for the black cast coming in.")

Barry and Fran hire Ashley Simpson.

I checked out the list of producers on "Promises, Promises" and the one name that stands out is Terry Allen Kramer, someone whose career stretches back decades on Broadway. I'd love to know who was calling the shots on this one. Was it the TV/movie guys, was it the BAA guys? Was it Kramer?

I hope it wasn't Tori Spelling's mom.....

Even the Wex

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This will run. The average theatre-goer today loves mediocre productions that get mixed to negative reviews (see The Addams Family).

Of course it'll run. I don't see how anyone can think they're gonna close up right away because of these reviews. The Tonys are right around the corner (I think this will still get a Tony nod for Best Revival and will perform on the telecast) as is the summer aka tourist season. And if the audience I saw the show with last week is any indication, word of mouth should be pretty positive. They weren't going bat**** crazy over it, but they seemed to be having a pretty good time.

I really disagree with some of you who have been attacking "Promises, Promises." Critical reviews or not, it's hands down the most deserving of the Tony for Best Revival. Hands down.

I was amazed that a show that is so specific to the 1960's could feel so effortlessly relevant to the present time.

As critical as I usually am about Broadway shows, I have to say that every production and directorial decision was perfect. And I'd go so far as to say that I can no longer imagine anyone else in those roles.

One of the problems with the original play, of course, is that the character of Fran is always portrayed as a two-dimensional paper doll victim --- the passive object of Sheldrake and Baxter's affections. Kristin Chenoweth has breathed real humanity into the part, imbuing it with sadness and tragedy, but also strength and growth. For the first time, the character has an arc, and you are actually rooting for her and C.C. to get together as a couple. That emotional depth would have been impossible without the superb incorporation of "Say a Little Prayer" and "House Is Not a Home" which book-end her emotional journey in the First Act. And the night I was at the theater, those songs caused the audience to explode in applause and emotion.

At the same time, Chenoweth has demonstrated new range for her own career, dropping her voice tone to an octave of womanly perfectly and displaying a new sobriety and maturity as an actress that makes me want to see what else she's got in her.

I for one, will be going back to see that show again and again.

Hey look! A member of the production (SquareTimes) joined the board today to tell us how wrong some and over a dozen critics are about our assessment of the show!

Kristin, is that you?