Sondheim and Ives' HERE WE ARE at The Shed — Page 60

So no possible Broadway transfer? Was thinking this could fit into The Booth for a short summer engagement.

Jordan Catalano said: "One of the things that i realized yesterday was that the more I saw the show, the less “unfinished” it seemed to me. Obviously it would have been different had Sondheim lived, but I found it interesting how my view on that shifted."

I had the same thought - and I never found that unfinished to begin with. 

One question: Did Dennis O'hare's character disappear? Every time they finally left the room, Tracie Bennet was seen staying, but I never saw Dennis. It does strike me odd that he doesn't have more of an end to his arc. But maybe I somehow missed something. 

berniesb!tch said: "One question: Did Dennis O'hare's character disappear? Every time they finally left the room, Tracie Bennet was seen staying, but I never saw Dennis. It does strike me odd that he doesn't have more of an end to his arc. But maybe I somehow missed something."

I've seen this as a sort of "he's still out there trying to run the revolution" sort of thing, and that the not knowing where he goes is part of his arc.

In the WNYC interview with Denis O'Hare, this is what he says: 

Inferno, he's the hardest to play because he's both deeply angry, and to my estimation, deeply tragic because he founds his entire life on one idea, the idea of revolution. When the revolution happens, he's not part of it. He's trapped in the room too. He's trying to enact his version of revolution in that room, and he fails. He disappears from the play at the end, which is, I think it's chilling. I know what happens to him, I'm not going to say what happens to him, but it's tragic.

"Thomas Ades opera “The Exterminating Angel” is receiving something rare in contemporary opera: a new production (GIFT LINK).

"How extraordinary, then, that “The Exterminating Angel” has not only been revived, but has also received something even rarer in opera: a new production, by Calixto Bieito, at the Paris Opera. (It continues through March 23 and is streaming on the company’s platform until Saturday.) And, revised by Adès, with the composer in the pit, it sounds better than ever."

https://www.nytimes.com/2024/03/15/arts/music/thomas-ades-exterminating-angel-aquifer.html?unlocked_article_code=1.dk0.-OvQ.-6ga_WgvaT9M&smid=url-share

Not everything has to be on Broadway. And that's ok. 

dramamama611 said: "Not everything has to be on Broadway. And that's ok."

I feel like we tell ourselves that cause we're so numb and used to how this industry has stopped taking chances.

rattleNwoolypenguin said: "dramamama611 said: "Not everything has to be on Broadway. And that's ok."

I feel like we tell ourselves that cause we're so numb and used to how this industry has stopped taking chances."

Or some of us view Off-Broadway as a perfect place for some shows. Broadway may be the most commercially visible place for theatre in this country, if not the world, but Off-Broadway is just as essential to the NYC theatre scene. Always has been.

Risks? Anytime they open a show they take a risk. 75% of shows fail. It's a business that sometimes makes art. 

 

And let's not forget... Sondheim didn't want this on Bway. (Or so we've been told.)

I heard rumors the Donmar Warehouse in London might be doing it next season.  At some point, producers somewhere will try to bring it to Broadway so it might as well be the original Joe Mantello production.  I saw it twice and could have seen it again and again.  Perhaps the best thing I’ve ever seen. 

MrBroucek said: "jacobsnchz14 said: "StylishCynic said: "Did anyone attend the dress rehearsal last night?"

 

 

I am happily revisiting this thread. What was The frogs reference? I think I missed it or it was cut!

Thanks"

Perhaps it was the "Toasts", specifically the ones involving wine? 

I understand how that can be perceived as a wink to "Hymn to Dionysos".

Updated On: 4/17/24 at 03:40 PM