. . . huh?
I think she was saying that if you're a Culture Club fan, it's a little contradictory to say that Raul was the only thing to save a show
about Boy George, its artistic merits momentarily sidelined. It's not about blind adoration, which I happen not to believe in either, but you'd think even if the show did suck, there'd be a point of interest subject wise that stretched beyond one singular performance. Then again, your only consistency seems to be your knack for self-contradiction.
Why you're twisting this into whose interests lie where is a bit obtuse. Suddenly when someone calls you out,
then it's about the other talent in the show and how
we only care about Raul.
For the record, I happened to adore Taboo. It was a mess with many, many unforgivable flaws, but a very lovable mess with a big heart. It also one of the finest scores in recent memory. Also for the record, I saw Raul's standby play Philip.
Anyway. Young Frankenstein.
By out-of-town tryout, I don't mean auditions. I mean that Young Frankenstein is going to have a trial run somewhere (Seattle, it looks like) this coming summer, before it plays in New York. That has a bigger chance of interfering with Company's run than does the actual Broadway opening. Yes, he's gotten several parts without auditioning, but that's not what I was talking about.
The Normal Heart closed unexpectedly after talk of a transfer to Broadway mixed in with several extensions due to a major financial oversight. But that was in the summer of 2004, if I remember correctly. Chitty Chitty Bang Bang didn't open on Broadway until the following Spring, and went into rehearsals the November before that. He was MIA on stage for quite a while, save for some benefits here and there. All that time off isn't quite moving directly into another part.
A work of art is an invitation to love.
Updated On: 2/18/07 at 04:21 PM
