If the NY TIMES is as mediocre as that and the 2 smaller NY Papers, the Post & the News, slam it...I wouldn't think of them as favorable.
The play will have full audiences every night, but extensions and Roberts wanting to run back to Broadway anytime soon are probably extremely unlikely at this point.
Can we let that one die please? This is about the actual reviews. I'm still very sorry for doing what I unintentionally did. I've been writing reviews for years and never copied another writers work. It was an accident, I promise you. I love this board, and enjoy the flavor you all bring to the Bway community.
Anyway... I just don't think these reviews are that *great*. To me it's the biggest non-event since THE ODD COUPLE and ashame how folks are sucked into star-powered media hype. I do think with some work Julia could be good onstage, but what's going on here just never gels.
Unintentionally? You're serious? The first paragraph of your review was WORD FOR WORD the '97 review. How is that unintentional? And, don't say it was a coincidence or else you really do undermine everyone on this board. And, that wasn't the only part of your review which matched the '97 review, verbatim.
Why don't you just admit what you did was intentional and accept the fault, already?
To me, Puffy was superior in RAISIN. Perhaps expectations played a role -- people didn't think he could walk and talk at the same time. Curiously, though, he was far more comfortable on stage, physically embodying the man he played with ease and even grace; it seemed a good fit, even if he didn't hit all of the high notes.
What's startling about Roberts is how awkward -- graceless - she is at odd moments (Brantley, outside of his wet dream digressions, nailed this). And she's been acting on movie sets for years, which Puffy has not done.
"I'm a comedian, but in my spare time, things bother me." Garry Shandling
Having not seen it yet (going on Saturday), it seems the fault lies with the director. Most reviews seem to say he doesn't know how direct his leading lady.
Quibbler, you're quite right. Mantello is consistently a very mediocre director who for some reason has been annointed as THE director of choice in New York right now, directing several high profile plays a year and getting very wealthy in the process (he gets a heathy chunk of the weekly gross -- 5% I believe). Odd that as a former actor, he seemed incapable of guiding Roberts into a more credible performance, but it's rather typical of him. I think his direction mostly consists of casting a show, blocking it badly and then sitting back and hoping for the best.
On a related matter, I hope people now understand why I kept stressing that Drama League Awards are meaningless and no one should fret that Mano Felciano, Beth Leavel, Tyn Daly, Kelli O'Hara didn't get recognized, while Julia Roberts did. They only give out those nominations in hopes that some of the famous people will come to their silly little luncheon. Roberts was going to get a nomination even if it turned out she couldn't walk across the stage without bumping into the furniture.
"What a story........ everything but the bloodhounds snappin' at her rear end." -- Birdie
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"The Devil Be Hittin' Me" -- Whitney
Yeah. Does anyone know how this worked? Did someone want to do a revival of this and then asked Julia or did Julia come to producers and want to do a revival and whatnot?
Oh okay. Seems like this play wasn't screaming for a revival, so was just wondering. I wonder if they would have went through with it had it not been her.
some agents dreamed up this production. i think jro has wanted to do b'way for a while and i think she is handled by the same firm as mantello and someone else involved, or so i read. hooking up clients in package deals makes agents a whole lotta dough