THEATRE GOSSIP #573: The "How Are Things in Ricamora?" Edition

Here's the previous thread.

Great thread title, OP!

Ricamora is the worst part of Oh, Mary. Screaming at high-decibel level and he brings nothing to the role.

I hope Erivo is better as Elphaba than she was as Aretha.

Will SUNSET get across-the-board raves?

[quote]Will SUNSET get across-the-board raves?

I dunno. I was talking with a friend earlier today and we both commented that, so far, people seem to either love it or HATE it, with no real middle ground.

[quote]How Are Things in Ricamora

Moist and welcoming, one hopes.

R5 I loved the show and, if I were rich, I would go many times. I expect the reviews to be mostly positive and a few negatives. I hope NS gets the Tony though.I know that there are many shows yet to open but I doubt we will be able to attend an exciting performance as SB is, at the moment.

OP, the request was to fashion the comment into a thread title, not copy and paste it.

It's only October. The only sure thing so far far is Frances Jue's Tony for Best Featured Actor.

From the New York Times obit for Mitzi Gaynor:

[quote]The role of Nellie Forbush, a World War II Navy nurse and (in the words of a song lyric) a “cockeyed optimist” in Rodgers and Hammerstein’s hit 1949 Broadway musical, had been originated and defined by Mary Martin. But when it came time to cast the 1958 movie of “South Pacific,” some considered Ms. Martin too old (she was in her 40s) and perhaps too strong-voiced for any actor who might be cast opposite her. (Ezio Pinza, her Broadway co-star, had died.)

No. Martin was unquestionably too old for the tole by the time the movie was made, as it's a major plot point of SOUTH PACIFIC that Emile de Becque is considerably older than Nellie, who is realistically supposed to be in her very early 20s. And that bit about her being "perhaps too strong-voiced for any actor who might be cast opposite her" is utter nonsense, especially considering that opera star Giorgio Tozzi wound up dubbing Rossano Brazzi's singing in the film..

I'm sure the real reasons why Martin wasn't cast in the film were (1) her age, and (2) though she had made several films when she was younger, she really was not very photogenic (and was certainly less photogenic in 1957-58 than she had been when she made those earlier films).

R9, shut the hell up.

Too old?

Everything is relative, R13 :-) That said, Close was WAY too old for the role by any standard.

R10, in what?

I would love to see Francis Jue win a Tony. It's great when true theater stalwarts get rewarded (like Deidre O'Connell) for giving decades of excellent performances, even though stardom (and recognition) somehow escapes them. It's better than seeing someone like Scarlett Johansson win one.

Alyssa Milano seems to be out of Chicago quite a bit during her very limited run. What's the dirt?

She still needs three days a week to bitch on the internet about Shannen Doherty.

It’s a low bar, OP. But you managed to reach it.

I'm considering seeing Oh, Mary! but not at extortionist prices. I'm not feeling any rush to see it.

I only paid $138 for my “Oh, Mary!” ticket a couple of weeks ago which is nowhere near an extortionist price. Slightly obstructed view but it didn’t hamper my enjoyment at all.

Where are you looking for tickets, R20?

Honestly, R21, I haven't started looking. I used to be on TDF and should probably rejoin. Otherwise, I'm happy to hear where you got your tickets. That's a fair price.

R22, I used vividseats.com. I purchased my ticket three weeks in advance.

Good luck!

Francis and Randy are lovely people

Thanks, R23!

I’ve read a lot of posters saying they didn’t like Conrad’s performance. The off broadway award committees are nominating though!

Isn't Francis Jue's play YELLOW FACE closing next month? As deserving as he might be, I can't imagine he won't be mostly forgotten by Tony voters by June. Unless it's a really slim category.

I’m just so glad to see a modicum of order restored here with the restoration of THEATRE in the title. Thanks, OP.

Now if only the wider DL population can get it through their thick skulls that the correct title format for those who’ve croaked is (insert name here) is DEAD to me!

YELLOW FACE is the best play so far this year.

Not much competition though, eh?

That not being the point, but go on…

Add me to the chorus of people who didn't care for Conrad's very shouty performance in Oh, Mary! It's already... basically... an 80-minute sketch comedy scene (once you accept that, you can sit back and just enjoy the silliness), but having Conrad shout constantly is annoying and loses any comic impact it should have. He's been indulged (or poorly directed), because I've seen him give fine performances elsewhere.

I also agree with R21 - the far side orchestra seating, while, technically partial view, is absolutely fine for this show. You barely miss anything. I also got a ticket for an otherwise completely sold out performance in the 'partial view' orchestra side and paid $140. Note: I was on house right. I ASSUME that if you're 'partial view' on house left you will miss some of Cole while he's burying himself into a chaise lounge that's placed far up stage right.

Though I have my doubts whether or not OPERATION MINCEMEAT will attract NY audiences, there's that male actor who plays the older female secretary (as well as a slew of other roles) who could be a leading contender against Jue for Best Featured Actor come June.

I was just thinking....there are relatively few British/Irish plays coming to Broadway this season compared to earlier seasons. But then thinking back on what I've seen in London in the past year or two, there aren't any that I think should transfer to Broadway. I wouldn't have even thought Hills of California deserved a transfer.

Not a play, but I did love Old Friends, the Sondheim revue in the West End, and I'm thrilled it's coming to NY. I might need to see that one again. Big surprise, I went in not expecting it to be such a joyous experience and I think with NY actors replacing most of the British actors, it'll be even better.

Well, of course another Sondheim revue is coming to Broadway.

r34: How is this any different from the many others?

Please don’t compare the Brits and the Irish.

I'll probably see Old Friends because I love Sondheim and, although her voice is diminished, how many more opportunities will we have to hear Bernadette sing on a Broadway stage? But, I'm glad that they're casting mostly American actors along with her. I was not a fan of most of what was captured on the Old Friends broadcast. I don't know what it is, but British actors just seem to be more 'miss' than 'hit' when it comes to Sondheim. Everything's so... underlined and hammy.... must be all the pantomime they were raised on. I want that wry, knowing, Manhattanite sensibility reinfused into these songs when it plays NY.

[quote]Now if only the wider DL population can get it through their thick skulls that the correct title format for those who’ve croaked is (insert name here) is DEAD to me!

Wow! I don't think that most DL-ers were aware of the most tiresome and overused trope on this site!

You’d be surprised, theze dayz…

R33 Operation Mincemeat is a musical....

Theatermania is the first SB review out:

From the first moment Jamie Lloyd’s sensational new production of Sunset Boulevard, when antihero Joe Gillis unzips himself from a body bag to sing the opening number, to the curtain call, when the actors receive a thunderous standing ovation completely stone-faced, you get the sense that the British auteur director absolutely hates this show. Every single choice is made with a wink and a twinkle, all in service of exposing how ridiculous it is. In doing so, Lloyd has somehow managed to create a giddily thrilling revival, with star Nicole Scherzinger delivering one of the greatest performances I’ve ever seen as a psychotic Norma Desmond for the TikTok era.

Thanks, mom

Good for her!

What’s coming in 25-26?

The Queen of Versailles and the Waiting for Godot revival with Keanu Reeves & Alex Winter.

I wasn’t actually asking…

Tonight's performance of Shit.Meet.Fan. was cancelled due to a "non-Covid related illness". It should be interesting to see how MCC deals with this situation, given the show is pretty much sold out.

THR review:

NYT:

Green is decidedly mixed.

No Critic’s Pick?! OUCH.

I know there are months left in the season, but I'm curious. As of right now, there are four Shubert theaters that are going to be vacant this winter-spring (Imperial, Jones, Lyceum, and Music Box). There's also five shows promised to Shubert theaters that still need a house (Glengarry Glen Ross, Good Night, and Good Luck, The Picture of Dorian Gray, Real Women Have Curves, and Smash).

The Booth, Broadhurst, Barrymore, Golden, Majestic and Schoenfeld already have their next tenants lined up. The Belasco and Longacre have shows that could last the season. That just leaves the Ambassador, Broadway, Jacobs, Shubert, and Winter Garden.

Whatever happened to the show must go on. I remember seeing an early preview of Death and the Maiden where Glenn Close's standby went on with the script. Canceling back then was out of the question. A Chorus Line played a performance during flu season with key cast members missing and not enough understudies so some roles were cut and others were combined. Why? Because the audience must not be disappointed. Shit. Meet. Fan has understudies. Why cancel?

The theatre landlords have gotten wise to Stro after Left on 10th began those horrible previews and are not giving her a theater for Smash. They all want something that will run for more than 2 months.

Well, r52, the play is no longer the thing. It's all about the stars and if the stars aren't in these days, the audiences want their money back. Pretty simple actually.

Wow—a scathingly brilliant review. It won’t impact the box office or other critical commentary; but, as a stand-alone piece, the writing is great. Better than the show deserves. He hoists this version on its own petard. A good read.

I would characterize Green's review as decidedly a pan, not decidedly mixed.

Not that it will matter for all those who want to see this tripe at ridiculous prices.

[quote]Is the music bombastic? Bomb the audience’s ears with it. (Adam Fisher’s sound design seems to include microphones lodged in the actors’ intestines.)

[QUOTE] Wow—a scathingly brilliant review. It won’t impact the box office or other critical commentary; but, as a stand-alone piece, the writing is great. Better than the show deserves. He hoists this version on its own petard. A good read.

Which review? Several have been posted.

Mole on the ballsac!

^ for the naked men on this site folks

Tracy Letts is on The Simpsons.

I still maintain that Tammy Faye will flop and The Queen of Versailles will get the theater it wants-the Palace. I think it’s looking more and more that Kristin Chenoweth could indeed win the Tony over Nicole, Idina, Audra and Megan.

Has the rest of the Old Friends Broadway cast been announced?

Mitzi! They may recast the role.

R62, I thought THE QUEEN OF VERSAILLES delayed till next season not because the theater they wanted wasn't available, but because the creators recognize the show needs more work. Am I wrong about that?

R63 - No. No one other than the headliners (Bernadette and Lea Salonga) have been confirmed.

From the NYT review of SUNSET:

[quote]The revival is not, like “Cats: The Jellicle Ball” this summer, a completely new way of looking at a Lloyd Webber musical; it’s a completely new way of not looking at one.

That sounds like a clever observation on first reading, but I think it's at least partly untrue, as "Cats: The Jellicle Ball" could also be described as a completely new way of NOT looking at a Lloyd Webber musical.

[quote]r67 = but I think it's at least partly untrue

I don't.

R67 and you’d be wrong

[quote]Because the audience must not be disappointed.

Ha!

Green's take on the movie "Sunset Boulevard" ("The 1950 film, directed by Billy Wilder, stands at a wry remove from these tawdry proceedings, with a cool appreciation but no embrace for human pathos and the hysteria of Hollywood dreams. Norma is a drama queen, Joe a gigolo, Betty a simp and Max a goblin. We know nothing of their emotions beyond what their actions show us.") seems very short-sighted to me. Wilder's direction, the cinematography, the score, and, particularly, the brilliant performances all work together to reveal much about the characters' emotions "beyond what their actions show us." Much of what is revealed very much embraces human pathos, and not "with a cool appreciation" or "a a wry remove."

It's a *very* cynical movie, r71. I actually don't find much pathos in it which is why I didn't think it would make a very good musical.

[quote]The singing, too, is excellent and, even better, two of the tackiest songs (“The Lady’s Paying” and “Eternal Youth”) have been cut. I wish more were.

Hahahahaha!

Is it true that Nicole leaves the theatre with the makeup on, too? A bit much, don't we think?

R51, Dorian Gray is going to the Music Box.

No, r74, I don't think it's too much.

Is that even when she leaves the theatre? Seems more likely it's when VIPs come back and get their photo taken on the stage

Groff.

Before clicking on r78 to see more photos, just know that the only photo of Groff "as" Bobby Darin is the one you can already see.

Conrad Ricamora takes temporary leave from ‘Oh, Mary!’ due to injury:

12 Broadway Stars' Favorite Restaurants In NYC:

[quote]I’m just so glad to see a modicum of order restored here with the restoration of THEATRE in the title. Thanks, OP.

If I recall, the very first gossip thread was spelled 'theater,' but it was changed to 'theatre' sometime along the way.

[quote]The singing, too, is excellent and, even better, two of the tackiest songs (“The Lady’s Paying” and “Eternal Youth”) have been cut. I wish more were.

I don't understand the hate for those two songs.

Well, they're the same tune, but I've always enjoyed the witty lyrics.

And I thought they were essential to the story.

Is Joe no longer a gigolo and Norma no longer obsessed with being young?

Bernadette's fave place is Orso, where she says she loves the pizza bread. Famous for eating almost nothing, this is hard to believe.

If I had to lose one, I'd go with "Eternal Youth," but really, both it and "The Lady's Paying" should stay. They balance each other well, and also work alongside "Surrender."

I don’t think Jesse Green’s review of “Sunset Boulevard” is wrong so much as beside the point. He as much admits is a really terrible show, so why not blow it up and enjoy the fireworks? I saw it in London, not here in NY (yet) but it won me over and it’s really a fun theatrical experience. It will be a word of mouth hit.

NPH goes to Sardi's? WHY?

His kids hate it

The ticket prices for Groff as Bobby Darin are ridiculous. I saw Enemy Of The People for less.

I declare that ‘Exit, Stage Right Even-The Snagglepuss Chronicles’ is the play to beat this Tony season! It’s the Cats meets Angels in America meets A Chorus Line trifecta we’ve all been waiting for!

I have come to the decision to take a break from Broadway for at least a season. It's just like a drug--constantly searching for that great feeling, but being disappointed with each attempt. All the while, my bank account suffers.

The Bway advertising and shilling machine keeps on chugging: Not to be Missed!! Greatest EVER!!!

In reality, most of it is just meh, especially when one has seen so much Bway already.

Maybe a little break will allow me to enjoy some shows again.

What Green got right was that Jamie Lloyd basically doesn’t give a shit about the material and actively discards, contradicts, and avoids it. And for those who think it is bad material, that’s either a good choice or a reason to pick another show.

[quote] The ticket prices for Groff as Bobby Darin are ridiculous. I saw Enemy Of The People for less.

Honestly, casting Groff is that role is genius. Unfortunately, I don't care about either Groff or Darin

R81 is posting from a 1988 Plabill back page.

Your toupee is crooked.

[quote]Whatever happened to the show must go on.

Good question! I never did find out how "Our American Cousin" ends.

It ends with a BANG!

Nancy Todd Lincoln- Sinatra: All-American girl

R33 I think I read somewhere that there is no guarantee that the British cast of OPERATION MINCEMEAT (some of whom created the show) will be allowed to perform it on Broadway. I just saw it in London last week and was blown away by it. The cast and the energy and the ingenuity of the script made it our favorite of the six shows we saw. Christian Andrews in a variety of roles (but especially as the elderly female secretary) was indeed the standout, but all of the cast members are great. We also enjoyed GUYS AND DOLLS, although I'm not sure much was added by making it immersive. The staging meant that some of the audience members in seats were forced to watch the backs of the actors for long stretches of time. We chose the standing room, and it was fun. The real revelation for me was Gina Beck, who was the first Sarah Brown I've seen who a knockout in the role. What a voice! Lovely soprano tones along the lines of Barbara Cook and Rebecca Luker, and she can belt too. George Ioannides was a very sexy Sky who revealed a nice fuzzy chest when Sarah ripped his shirt open. I wasn't crazy about some of Hytner's directorial choices, like having the Hot Box Girls use carrots as dildos during "A Bushel and a Peck" or having Sky dance with a group of openly gay guys in Havana. And I'm sorry we wasted an evening on A FACE IN THE CROWD. Mediocre book, score, and performances.

Weren't some of the original cast of Operation Mincemeat also the creators of the show?

I would think that those few performers, at least, would be permitted to transfer with the show to Broadway. Also, the story and humor are so particularly British, it seems only right that they tell the story. I loved it, btw.

But I watched the great Netflix film, also called Operation Mincemeat, as a primer before seeing the musical on the West End, and I advise anyone else seeing it do the same for ultimate enjoyment and appreciation of the musical. It's a very complicated story and the song lyrics whiz by so quickly.....

Oh, really, R69? I'd be "wrong?" You don't think CATS: THE JELLICLE BALL could arguably described as "a completely new way of NOT looking at a Lloyd Webber musical?" In some ways, I think it's very similar to the new SUNSET in that both productions throw out so much of what was essential to the original productions.

I'm not r69, r101, but here's how I interpreted it. Jellicle re-frames CATS, but stays true to its material. Sunset's re-framing is at odds with its.

[quote]Bernadette's fave place is Orso, where she says she loves the pizza bread. Famous for eating almost nothing, this is hard to believe.

Translation: She loves the aroma of the pizza bread, but worries that sniffing too much of it could cause her daily caloric intake to soar into the two digits.

And I think that's a perfectly valid interpretation, R102, but I also think Green's phrasing could be applied to both productions.

Who’s going to see Mandy Gonzalez as Norma tomorrow

Awwwwwww .. Mimi

Oh no! First Mitzi and now Mimi.

Mamie Van Doren next?

With added weight and years, Mimi looked like Roseanne.

RIP

[quote] Oh no! First Mitzi and now Mimi.

Or - first Maggie, then Mitzi, then Mimi.

One of my favorites...

Re: Bernadette and her diet. I remember reading an interview with her sometime in the past 10 years or so in which she was detailing her daily routine while living in LA and between exercising twice daily and having a VERY restrictive diet it sounded... not exactly joyful. Hopefully she's letting herself enjoy things a little more now that she's well into her mid-70s.

I adore this woman. She's been one of my favorites since childhood and I don't say this to be a typical Datalounge cunt, but, someone in her circle has to tell her its time to retire the skintight Bob Mackie gowns she's been wearing in concert since at least the early 90s. She still looks phenomenal for her age, but, time comes for us all and the bingo wings and the not-quite-as-svelte figure don't suit those truly unforgiving Mackie designs. She's looked fabulous in gowns by other designers -- like Zac Posen.

Folliesch!

Mamie Van Doren should probably make sure her affairs are in order.

Well, get set to see a coupla form-fitting gowns in “Old Friends,” R112.

Sadly, but not surprisingly, the BroadwayWorld obit for Mimi Hines is so poorly written that it's an embarrassment. So much so that I won't link to it here.

I will.

Once Bernadette said that as a treat she shared half a Kind bar with her assistant. (!)

But the thing about Bernadette, kidding aside, she's never looked gaunt or anorexic. She's just always looked healthy and lovely.

They are playing Taps at The Montana

[quote]Once Bernadette said that as a treat she shared half a Kind bar with her assistant.

Well, it was treat compared with her usual daily food intake, which consisted of one orange navel and a small tablecloth stain.

Incidentally, I'm reminded of this scene from "Golden Girls."

DOROTHY: I knew this woman who went to Paris, went out to eat, and she just had watercress, because, you know, she didn't want to gain weight. And when she left, this gargoyle fell off the roof, hit her on the head, and killed her! And just look at what her last meal was. Of course, it'll be just my luck, I'll eat, I'll gain 40 pounds, and I'll live to be 90.

Is that Bernadette's deal?

I think Bernadette is one of those body types that if she really ate what she wanted, she would look like Mama Cass.

It's official. SMASH is opening at the Imperial.

Good god but that Tammy Faye musical is getting horrible chatter everywhere.

R124 - don't you mean CLOSING at the Imperial?

Im just assuming that SMASH will be a flopperama.

Does anyone care so many years after the show?

Unfortunately, I also believe that SMASH has flop written all over it. Someone must need a good write off.

I'm going contrary. It's potentially got tourist hit written all over it.

People who saw the staged workshop raved, but said it had a totally different plot from the TV show.

If it’s actually good, but doesn’t have stars, its prospects are uncertain. Broadway hasn’t tried that combo for years.

R130, on the Youtube teaser it has lines superimposed at the end along the lines of: If you loved the show, you'll love this... if you didn't, we've changed everything.

So I don't know how you pull that off.

I remember the SMASH songs to be serviceable at best

Which is why I think it's got tourist hit all over it. They ain't there for the art.

[quote]I remember the SMASH songs to be serviceable at best

Like aural chrysanthemums.

People I know who saw the workshop said "It's not that good, why are they doing this"?

What do you mean?! Stro is BRILLIANT with new musicals...

Don't forget us!

Dolls! I have my tickets for Old Friends on Broadway!

Tickets are 114-300+ which isn’t horrible for today’s prices!

Plus it might be Bernadette’s last Broadway hurrah!

A New, Even Shorter Version of ‘Harry Potter and the Cursed Child’ Is Headed to Broadway:

Just close it already.

‘Stephen Sondheim’s Old Friends’ Starring Bernadette Peters And Lea Salonga Rounds Out Broadway Cast:

Joanna Riding! Woo hoo. That's exciting.

^ Two count 'em two Sallys!

Why on earth would DL turn on Bernadette. For her diet, no less. You cunts stink.

From the Potter article:

Harry Potter and the Cursed Child features movement by Steven Hoggett...

What the heck is "movement?"

R143 I saw it in London,

Riding does Getting Married Today.

I’m guessing Beth Level is replacing Clare Burt and is singing Ladies Who Lunch.

The Noises Off lady is replacing Janie Dee and sings The Boy From

Gavin Lee does Could I Leave You as a gender bender.

Bernadette does I Know Things Now, Send In the Clowns, You Gotta Get a Gimmick and Losing My Mind

Lea does Loving You, Children Will Listen, The Worst Pies in London, Somewhere and Everything’s Coming Up Roses

Norma Standby Ankles Sunset to Star in Smash

Hey, how about us?

[quote]Norma Standby Ankles Sunset to Star in Smash

Her name is Ankles Sunset?

Wasn't Old Friends' David Harris briefly semi-famous on DL for... something? Thirst-trap photos?

Broadway Box Office:

^^^That Deadline article refers to SUNSET BLVD. as "ecstatically reviewed." Really? I read the NY Times review as mostly negative, and there were several other very mixed notices among the raves.

re: "Old Friends"

[quote]The final co-star will be announced soon.

Spoiler alert -- it's ME!

I'd say the Sunset reviews were ecstatic in the majority. The NYT was the most negative.

R153. It's not us!

^^^ Howard Miller's SUNSET review for TalkinBroadway is largely negative, and Robert Hofler's review for Deadline is almost entirely negative. (Of course, I realize they don't have the clout of the Times review.)

R145 sort of like what happens when you have bunion that bothers.....

i said in the majority, R156.

Chicago Tribune: Nicole Scherzinger is devastating in a sultry new ‘Sunset Blvd.’ on Broadway

Washington Post: Nicole Scherzinger is too glam for ‘Sunset Blvd.’ It hardly matters.

Variety: Nicole Scherzinger Astonishes in Jamie Lloyd’s Remarkable Broadway Staging of the Andrew Lloyd Webber Musical

Vulture: A Madly Showy Sunset Blvd. As Norma Desmond, Nicole Scherzinger is gargantuan and almost feral

New York Post: Nicole Scherzinger stuns in scorching, brilliant Broadway revival

Entertainment Weekly: Nicole Scherzinger stuns in Broadway revival that improves the Andrew Lloyd Webber classic

Deadline: Nicole Scherzinger Steals Broadway With One Look

Hollywood Reporter: ‘Sunset Blvd.’ Theater Review: Nicole Scherzinger Is Sensational in a Bold Reimagining of the Andrew Lloyd Webber Musical

R158, I agree that the SUNSET reviews were ecstatic in the majority, I was responding to your statement that the NY Times was the most negative review. It was not -- though I guess it was the most negative of the major reviews :-)

P.S. The pull-quote from the Chicago Tribune review hails SUNSET as having "Andrew Lloyd Webber's best score." That kind of appraisal gives credence to Sondheim's comment that musical theatre is the only art form regularly reviewed by ignoramuses. ALW's best score? Really???!!!!

Smash does have some good songs… I love they just keep moving the line

Beth Leavel is doing a Sondheim-only cabaret at 54 Below this weekend, so she’ll probably be doing whatever numbers she’s doing in Old Friends there. She did Ladies Who Lunch at her last show and it was good but not amazing. She was clearly under the weather at that show though, so not entirely fair to judge how she might do with it in Old Friends off of that.

Off-Broadway's Connelly Theater Will Now Only Allow Catholic Church-Approved Productions:

Nunsense...Now and Forever

Since the Church was the chief supporter of child sexual abuse, I'm sure a production of " Doubt" would be acceptable.

Now we get to find out if Mass Appeal still has mass appeal.

Off-off-Broadway theatre approved by the Archdiocese of New York?

Truly a recipe for blazing success.

Talented as they may be, aren't those 2 women cast as the MM wannabes in Smash a little long in the tooth?

And please don't tell me Christine Neilsen is playing Angelica Huston?? What, was Julie Halston unavailable?

Or Harriet Sansom Harris?

[quote]And please don't tell me Christine Neilsen is playing Angelica Huston??

Triple "oh, dear."

Mimi Hines' performance in the Encores! FOLLIES was one of the most thrilling moments in an evening full of them.

[quote]Off-off-Broadway theatre approved by the Archdiocese of New York?

[quote]Truly a recipe for blazing success.

It'd be funny if they mounted classic, uplifting plays/musicals, with traditional direction and casts, that sold better than the Broadway shows, because it's what people actually want to see.

So much cynicism and pessimism on Broadway presently, when most people just want escapism.

DL fave Sherie Rene Scott opened in Little Shop last night. Was any of you queens there?

[quote] Was any of you queens there?

Oh dear, R172.

R173, you beat me to it :-)

Please. It's obvious that r172 did that on purpose.

Maybe, R175 :-)

Per Broadway Briefing, Cindy Adams is reporting that Cole Escola "wants out" of "Oh, Mary!" (at least temporarily) to do other things and that it's possible Melissa McCarthy could step into the starring role. Per Adams, McCarthy has "seen the show repeatedly, loves it [and] wants to do it."

THIS DAY IN BROADWAY HISTORY: In 1963, "Barefoot in the Park" opened at the Biltmore Theatre.

R177, I had a good time at the show and didn’t think I’d need to see it again. But I would pay top dollar to see it with her. Wow.

Maybe the Catholic Theatre could do The Runner Stumbles.

Possibilities are endless. Well, limited at best.

R99, I saw George Ioannides as Sky when I first saw the show and he was the understudy and thought he was terrific. I went back and saw it again later with the jock they cast as Sky originally and he was nothing special. His voice really lacked colour as well.

^^ Oh, who is playing Adelaide now?

Have they given up on bringing this to NYC?

Per that theater owned by the Catholic Church. Isn't it weird that Churches can own secular property and still not pay any taxes?

Not at all. Churches own church halls, homeless shelters, housing, hospitals, and universities among other secular activities.

^^^^One more strong argument for tax exempt status being eliminated for ALL religions.

[quote] Churches own church halls, homeless shelters, housing, hospitals, and universities among other secular activities.

Most of those are non-religious. Do churches also own land with, for example, apartment buildings and stores?

There's something called "unrelated business income" (UBI) that can be taxable to non-profits.

Melissa McCarthy? Well.. she's definitely as subtle as an actress as that show would require. But, she has ZERO queer sensibility which I think is inherently written into the part. I don't mean that the actor/actress in the role HAS to be defined as LGBTQ, just that they have that sensibility / are attuned to that frequency.

Actually, I'd go back to see McCarthy.

I'd see the show with McCarthy over Cole Escola whose sudden huge success is mystifying to me since I've never seen anything of his that I found to be the slightest bit funny. He was painfully UNfunny on Amy Sedaris's awful crafty comedy show (which was hugely disappointing in the first place...sadly.)

Yes, they do. Same as they own buildings with theaters in them. Duh.

Completely agree, R190. Escola is as amusing to me as Randy Rainbow.

The gays love to eat their young.

Honey, Cole Escola ain't that young.

[quote]I'd see the show with McCarthy over Cole Escola whose sudden huge success is mystifying to me since I've never seen anything of his that I found to be the slightest bit funny.

This was a long time ago, but he has done at least one previous thing that was very funny. Quite hilarious, in fact. See link.

P.S. This video was apparently made at a time when Cole was identifying as a gay male, rather than as something else.

I'm yet another gay declaring his mystification over Cole's and MARY's insane (and inane) success.

I don't know what "young" gays you're referring to, R193, but Miss Escola is 37 and Miss Rainbow is 43--both middle-aged.

Billy Magnussen Out Of ‘Sh*t. Meet. Fan.’ Due To “Unforeseen Health Concern’:

Jesse Pennington is the understudy to Magnussen. Pennington is a good actor, and handsome, with a nice cock he's shown before onstage.

What the hell can that mean at r198??

Quite honestly, it sounds like a nice way to say Billy was either fired or quit.

Don't ask me, R200.

Sutton Foster has filed for divorce. I wonder if she did it between shows today.

It’s the As The World Turns Curse striking again. I was fired from Abie’s Irish Rose in 1922.

I was a Floradora girl for a short time.

I'm curious to see "Oh, Mary" but....I'm not paying hundreds of dollars to see a gay bar parody show that would cost $40 in Provincetown.

Hmmmm......just how many times has Sutton been married?

NYT reviews "Left On Tenth":

DVR alert: LMM and Bernadette Peters both on Seth Meyers’ show tonight.

Left on 10th is another Roth family disaster. Broadway is full of them...

I'm pretty sure I've never seen the phrase "unforeseen health concern" used before. As opposed to what? A health concern that was foreseen?

Insurance companies love to make that di$tinction.

R212, so you're saying the reason for Magnussen dropping out of the show could have been rephrased as due to a "non pre-existing condition?"

This Zach Levi stuff is troubling.

R214 - it's not really new. He's just been more explicit about it since his Shazam box office failure. He's been a conspiracy theorist and anti-vaxx loon for years, he chose to live in rural Texas for years and he was raised in a Christian fundamentalist household, so it's not surprising that he's also a total MAGAT. I still thought he was very charming in She Loves Me, but I imagine we won't be seeing him on Broadway again. Unless it's for a revival of Scandalous co-starring Laura Osnes.

So THAT is what Jamie Lloyd looks like. Totally doesn't look like an attention whore who would want every facet of a production to be centered around his ego.

Wow, he really looks like a pretentious asshole.

[quote]I still thought he was very charming in She Loves Me, but I imagine we won't be seeing him on Broadway again. Unless it's for a revival of Scandalous co-starring Laura Osnes.

I saw Laura Osnes in a Hallmark Christmas movie last night. It was from a few years ago. I think she starred in two or three of them, one opposite Aaron Tveit. Something else she won't be doing anymore since tossing her career down the shitter.

You guys act like it's going to be like this forever.

Many thought the blacklisted actors in the '40s and '50s would never work again.

And by the late '60s, many of them were.

Woke/Cancel Culture (from the far-left) will run its course just like McCarthyism/Red Scare (from the far-right).

The difference here, r 219, is that the Left cancelled these people. And showbiz will always lean left because of the many free spirits who become creators. In the 50s, those who were blacklisted were taken out by the right, and welcomed back by the left. Big difference.

Once again, Susan Stroman has proven herself a brilliant director of new work.

I avoid Stroman shows like the plague. ALL of them suck. The Producers worked because of the actors. It fell flat the second the first cast left, it sucked.

[quote]Wow, he really looks like a pretentious asshole.

He looks like there's something very, very wrong with him. Who does that?

Zach Levi should be exiled like Laura Osnes

Zachary Levi and Laura Osnes are both set with television careers. Why on earth they return to Broadway? A place where they would not get along with many of their colleagues, have to work much harder, and probably get payed less.

Trying to paint Levi and Osnes as victims of "woke cancel culture" comparable to McCarthyism doesn't stand up to the slightest scrutiny.

What's Zach Levi and Laura Osnes done on TV lately?

Laura Osnes is a voice on a rightwing Bluey ripoff show called Chip Chilla.

Where is Randy Graff?

R228 Randy was cast as Rosie Brice in the ill-fated Funny Girl revival that crashed and burned with Lauren Ambrose and then she took a small role opposite Billy Crystal in his show a few years ago Mr Saturday Night

[quote]Woke/Cancel Culture (from the far-left) will run its course just like McCarthyism/Red Scare (from the far-right).

Right, r219, because they're "just alike"

LoL, do you really think you're fooling anybody?

Zachary Levi and Laura Osnes live onstage in the Branson production of “I Don’t, I Don’t!”

Back to the Future's closing in January.

Broadway's Thanksgiving Week 2024 Performance Schedule Changes:

Louis McCartney To Play Henry Creel In Broadway’s ‘Stranger Things: The First Shadow’:

Oh good, another brand extension show coming to Broadway!

Will LEFT OF 10TH make it to the weekend?

Yes. Contracts require posting notices by Tuesday for a Sunday closing.

Then why do some Broadway shows close overnight, r237?

They really don’t anymore. But if they do, they’d have to pay everybody for a week without any income from tickets.

But that's sometimes (if rarely) actually cheaper and less embarrassing than running a show that's not selling ANY tickets, r239.

A lot of times producer post closing a week before opening night so if it is a flop it can close quickly. Closing notice can be taken down at any time.

[quote]Louis McCartney To Play Henry Creel In Broadway’s ‘Stranger Things: The First Shadow’:

He plays the unattractive son on the Northern Ireland-set police drama "Hope Street."

Death Becomes Her cancelled tonites preview 45 mins before curtain time. Illness in company.

I wish I could put into words why I hate Hilty's costume at R243 so much.

It looks so... unflattering.

Will there be R&J reviews tonight?

Hilty's blue gown? Talk about the dress wearing her....

It doesn't become her.

I used to see Zach Levi hanging out every night at Hurleys on 48th St when he was in "First Date" on Broadway with his cute goatee.

Oh, Jeez. That poor company. To get socked on our second preview. but they had the show in Chicago. No understudies ready? Huh?

Why even have understudies? The rooomate did the same thing where they just cancel the performances

[quote]Laura Osnes is a voice on a rightwing Bluey ripoff show called Chip Chilla.

This bargain-basement credit is hardly an argument for her having maintained a successful career since Broadway gave her the heave-ho.

[quote]R250 Why even have understudies? The rooomate did the same thing where they just cancel the performances

I never voted to cancel any performances.

[quote]Why even have understudies? The rooomate did the same thing where they just cancel the performances

The Roommate is a different situation, because it's a two hander with two major stars, and the presumption is that very few if any people in the audience would want to stay and see the show if either of them is out. Still, your question applies even to this show: Why have an understudy or two in a case like this?

Why Shit. Meet Fan. with all of those names would cancel performances just because one of the names (Billy Magnussen) was suddenly unable to perform is beyond me.

I'm not defending the rather dismal trend of headlining stars having frequent absences (which seems based on mood rather than physical health), but it's important to remember that understudies haven't been rehearsed for a leading role by the time previews start. Understudies spend rehearsals learning their part or ensemble track, not the leading role. It's probably another thing that needs to change in our post-covid world, where an outbreak can put a show out of commission, but I wouldn't expect it anytime soon.

Whether an understudy ever goes on is immaterial. Actors Equity requires them on Broadway and requires they be rehearsed and costumed to go on even if the producers never allow that to happen.

Jennifer Simard's understudy played several performances in Chicago and I don't think any performances were cancelled.

NYT reviews "Romeo + Juliet":

THR:

Deadline:

Those Death… costumes are hideous.

Those reviews….are Death.

Jesus...those costumes really are dreadful. It's like bad pageant dresses. That's not who those characters are....both of them have some money.

I"ve noticed this more and more when I see photos of new B'way shows....skimpy and cheap looking sets and costumes.

Megan Hilty and Jennifer Simard are not "names" they are barely "theater names". They are who cast 10-years in names.

You couldn't pay me enough to sit through that R+J. I could barely finish reading the review.

[quote] Whether an understudy ever goes on is immaterial. Actors Equity requires them on Broadway and requires they be rehearsed and costumed to go on even if the producers never allow that to happen.

True, but I remember hearing an actor who was the standby for a major role in a play describing an experience of going on in previews at the last minute. He thought they couldn't put him on without rehearsal, and he was correct in that thinking. The hitch was and is the definition of "rehearsal" there is no definition of what constitutes a rehearsal for an understudy in the equity rule, beyond it being "on stage:" This actor was told by the stage manager he was going on and they only had 15 minutes for a rehearsal on stage beore the house opened. They walked him around a stage in one short scene and boom, they put him on. Very successfully, but wow

[quote]I could barely finish reading the review.

Have you considered a remedial reading course?

True, R254, but there are no ensemble tracks in The Roommate or Shit. Meet. Fan.

Oh I'm so tired of understudy actors whining. Here's a clue: When you're in the rehearsal room, stay off your fucking phone, and watch everything, take notes, and just be prepared. You'll be ready if you do that. I

R268, you assume understudies don't do any of those things--that they're always just on their phones? Fuck outta here.

that's a rather inane comment, r268. For reasons that should be apparent.

R265-Really? Ask Matt McGrath how that went for him in Boys In The Band.

^^^If the details of the story of what happened with Matt McGrath in Boys in the Band are true as I heard them, I think it's appalling that he was fired as understudy because he had to call for a line or two during the performance for which he went on during the preview period with very little if any rehearsal.

I wasn' endorsing the policy, r265, just reporting it. I think the actors should have to have a legit put in rehearsal before going on. I don't support that policy of throwing people on stage with no rehearsal.

[quote] If the details of the story of what happened with Matt McGrath in Boys in the Band are true as I heard them, I think it's appalling that he was fired as understudy because he had to call for a line or two during the performance for which he went on during the preview period with very little if any rehearsal.

Agree that was definitely an indefensible firing and very bad treatment of a very fine actor. If this happened during previews, he didn't have any rehearsal as the standbys don't rehearse until the first Tuesday after opening.

^^^^R273, why do you suppose management was so rigid, heartless, and unreasonable as to fire him for, apparently, having to call for one or two lines during the performance? Seems so wrong. I wonder if McGrath complained to Equity, but if he did, I'm not surprised if they didn't support him, because that organization is so weak and such a mess.

[quote] why do you suppose management was so rigid, heartless, and unreasonable as to fire him for, apparently, having to call for one or two lines during the performance?

I don't know and have no knowledge of the facts around this story. I just know Matt is a fine actor with a good reputation. I'd be interested in hearing the story from stage management

Me too, R275.

What was at the heart of the disagreement between Faith Prince and Patti LuPone during Noises Off? Or are those stories blown up completely out of proportion?

Her mop stank, and I wasn't gonna stand for it.

Megan is out of DBH tonite. Friend has tickets and is getting a refund.

Patti refused to go on with her understudy. That's why they cancelled those two performances.

During my days working on Broadway, I experienced a handful of understudies and standbys going on for name actors in leading roles, often with little or no rehearsal. In almost all cases, the understudy's performance was very good-to-exceptional. I can think of a couple of instances where the understudy was BETTER than the name actor. Often, the name actor knew it and either tried to have the understudy replaced or just never missed another performance. But the other cast, crew, and production staff knew how good the understudy was; that was the insurance to keep them on.

I wish someone would write a book on some of the very well-known understudies—ones who cover show after show for the leading performer. Sometimes, they get to lead the touring production or even the last leg of the Broadway production. Think Linda Balgord...

Dear Bevan Hansen, r279?

Lenora Nemetz went on for Gwen Verdon with about 30 mins notice during the out of town tryout of Chicago. I doubt she had any rehearsal. But she was prepared.

I've long wondered about the Matt McGrath/BOYS IN THE BAND thing. My pet theory was that he was actually terrific as Michael -- better than Parsons, certainly -- leading Parsons, Helen Lawson-like, to demand that a tin can be tied to his tail. But that's based on nothing.

[quote] Megan Hilty and Jennifer Simard are not "names" they are barely "theater names". They are who cast 10-years in names.

Maybe so, but Hilty is out tonight and I was able to get a refund.

Cabaret was on TDF last night/today.

Sad last days?

Any understudy worth their salt will start memorizing their lines from the day they're hired (which is often not until tech rehearsals begin). And watch rehearsals and previews and performances for blocking constantly.

Not that a "put-in rehearsal" onstage isn't part of their essential preparation, but they have to be prepared and ready to go at a moment's notice. That's just part of the job description and good understudies are eager to do their job well.

This seems appropriate...

r284 Could just be Ryan Murphy treating anyone but his favourites like shit, as he's wont to do.

[quote] Patti refused to go on with her understudy. That's why they cancelled those two performances.

r280, standbys were going on constantly during that NOISES OFF and Patti performed with all of them without incident. The issue with Patti and Faith initially had to do with Faith getting nights off to do concerts or something and this pissed Patti off, then, If I recall correctly, there was some drama around Patti's assistant and Faith but I am cloudy on that. But I don't think Patti had any problem with the standbys.

[quote]I've long wondered about the Matt McGrath/BOYS IN THE BAND thing. My pet theory was that he was actually terrific as Michael -- better than Parsons, certainly -- leading Parsons, Helen Lawson-like, to demand that a tin can be tied to his tail. But that's based on nothing.

I hate to think that's the reason, but I also hate to think McGrath was fired because he called for one line or two during the performance, given that he presumably had never had a single rehearsal and that all of this happened during the preview period, when the show had only been running for a very short time.

Can concur with everything Billy Boy at r281. offered in his post. My partner worked a lot of Broadway shows.. Wondering if you were an SM or PSM? they know everything. There was some great understudy drama in the old "Horrible People on Broadway" threads, but I can't recall the details.

[quote] My pet theory was that he was actually terrific as Michael -- better than Parsons, certainly -- leading Parsons, Helen Lawson-like, to demand that a tin can be tied to his tail. But that's based on nothing.

That's an interesting/entertaining theory, but 2 things. Standbys have contracts and often term riders that lock them in for 6 months. You can't fire someone without cause, and no producer is going to buy out an actor for 6 months because the star feels intimidated. In fact, if the star is intimidated by the understudy ( i've seen it not infrequently) they tend to have VERY good attendance records. :)

Also, I don't know Parsons, but isn't he something of a sweetheart?

R284. Makes sense

LOL 284, Although, while I don't think its possible that Parsons had him fired, I can easily see Matt being better in the role

While this is not a true case of understudy-to-the-rescue, here's something that I posted in the old SUMMER STOCK MEMORIES thread. It happened many years ago at the Falmouth Playhouse:

The real surprise that week at Falmouth was Lynn Redgrave, appearing with John Tillinger in THE TWO OF US. Lynn was so down-to-earth. She and her (horrible) husband and family stayed at a rented house on Buzzards Bay. I remember driving her home between a matinee and evening show, and she asked if we could stop at a local pizza shop so she could get dinner for the family. We sat at a picnic table in front, waiting for the pizzas. She kept asking me about my life growing up on Cape Cod, and I kept thinking, "Does anyone know I'm sitting with Georgy Girl herself?" She was wonderful in the show, BTW, playing several roles (including a man) with quick changes. A real pro.

We did MY FAT FRIEND with Patty Duke Astin a few weeks later. Patty got very sick during the show's brief run, and since there was no understudy, we tracked down Lynn Redgrave (who had done the role on Broadway) to see if she could fill in. She was unavailable, but she gave us the name of her Broadway understudy who was available and who we flew in from New York to finish the week, playing opposite John Astin. Everything worked out, except the understudy was the same size as Lynn Redgrave (big girl), while Patty was tiny, so the costumes and the fat suit did not fit. Our apprentices did miracles to create a new wardrobe, and the show went on! Oh, and one more thing: the understudy was TERRIFIC!

R264 Reviews have been split for the female lead, but the male lead has been getting great reviews.

Shame the show overall has been panned or he would be up for a Tony.

I wouldn't say that R+J has been generally "panned," and even if that were true, it wouldn't prevent Kit Connor from getting a Tony nom, which I expect he almost certainly will.

The fight between Patti and Faith had to do with equity fights aids

Attached is the article: she feuded with Faith, Peter, TR Knight and the stage manger over it

That was really reprehensible behavior ^^^^^^^^^

[quote]The audience could hear a furious LuPone cursing her stage manager. She also, according to sources, picked up props and threw them at him.

Talk about "noises off"!

Is Romeo & Juliet a good play?

Patti is always creating dramas. She loves provoking.

From r299 article:

[quote]Philip Rinaldi, LuPone’s spokesman, said, “When she expressed her displeasure to the stage manager, he said several objectionable things to her that were very hurtful. It knocked the wind out of her, and he has since apologized.”

I wonder what he said!

[quote]I wonder what he said!

Fat hips sink ships.

Re: seeing understudies, last season, I saw Sarah Paulson's understudy, Tina Benko, in Appropriate. The security staff walked through the line to get in informing everyone that Paulson was out and we could choose to stay or go to the box office for a refund or exchange. The ushers told us it was the first time she'd gone on. I believe it was a last minute cancelation from Paulson so I'd guess about 70% of the audience decided to stay.

Benko was fabulous and so in sync with the excellent ensemble cast, if you'd told me she'd been performing the role 8 times a week for months on end, I would have believed you. At the curtain call she was blowing 'thank you' kisses to the audience in disbelief that they chose to stick it out with "the understudy" and mouthing "THANK YOU FOR STAYING!" Not only a total pro, but also a very gifted actress. I hope word got out about her excellent performance -- she deserves her own leading role next time!

We had tickets to see Sandy Duncan in the Chicago revival years ago, and she was out the night we went. We considered returning our tickets, but decided to stay. The replacement was Belle Calloway, and I thought she gave a performance second only to Gwen Verdon, who I saw in 1975. Yes, I’m old. I ended up writing letters to both Belle Calloway, and the Weisslers, telling them how much I enjoyed her performance. I got a lovely note back from Belle, who thanked me for my letter and told me that she had just met with Fran, who had mentioned the letter I had sent to her.

R304 “Glenn deserved the Tony and Betty sang the role better than you EVER will!

[quote]The fight between Patti and Faith had to do with equity fights aids

Patti and Faith Prince were already on the outs before the Broadway Cares thing.. the initial rift was around Faith being allowed to take off performances for concerts.. then when the Broadway Cares collection started, the rift expanded to other cast members. Patti had the idea that Peter Galagher would "support" her position and he didn't.

Was the Encores PAL JOEY starring Patti and Peter Gallagher before or after their NOISES OFF kerfuffle?

Either way, I still listening to the recording.

R307. Agreed about Belle Callaway. What a great performance. It's too bad she hasn't been on Broadway since because she's a mega talent.

I've seen Tina Benko many times off and off-off Broadway and she is always terrific. She is one of the NYC actors.

R307, I have always said that Belle Callaway (that's the correct spelling) was one of the very best Roxies I've ever seen, in terms of dancing, singing, AND acting.

[quote]Patti and Faith Prince were already on the outs before the Broadway Cares thing.. the initial rift was around Faith being allowed to take off performances for concerts.

If that's true, it's ironic, because of course, now Patti does the same thing at the drop of a hat. In fact, she had one or two scheduled absences from The Roommate THE WEEK AFTER IT OPENED to go do a concert in Chicago. (And then she got COVID and wound up missing even more performances prior to that.)

Patti also left Sweeney Todd for several weeks to do Gypsy at Ravinia and was replaced by Judy Kaye.

Do we know for a fact the rift was about Faith leaving to do some performances?

Can you imagine getting caught between. Faith Prince and Patti LuPone? That is the high inner circle of bitter divadom.

[quote]Do we know for a fact the rift was about Faith leaving to do some performances?

Although I have no idea if this is true, I can believe it, because it seems Patti loses her shit whenever she feels she is not being kowtowed to more than anyone else in a show, and/or when the attention is not on her at all times. The latter reason is why she was fine doing her own concerts to benefit BC/EFA after the "Noises Off" meltdown.

Fuck Patti , the over-the-hill asshole.

^^^I usually hesitate to comment on performers' physical appearance, but....have you taken a good look at Patti's face lately? It's not so much that it's so ugly but that it's SO hard, as if all that bitterness and selfishness has actually hardened her features.

I thought Patti was badly miscast in Pal Joey.

[quote]I usually hesitate to comment on performers' physical appearance,

Sure, Jan.

R321, how can you possibly argue with me and think otherwise when you don't know me at all?

I never saw the Encores Pal Joey, just love the cast recording. Patti sings Vera's songs beautifully.

Patti has never been completely right when playing a sophisticated New Yorker, as she did in PAL JOEY and COMPANY, because there's always something about her that screams "suburbs." And I honestly think I would feel that way even if I didn't know she's from Northport, Long Island.

r322 that wasn’t arguing. Relax.

I LOVE Patti, but sophistication isn't in her wheelhouse. It isn't in Bernie's either.

Patti should play Livia in GOD DAMN IT TONY! The Sopranos Musical.

Exactly. Patti is not to the manor born.

[quote]Exactly. Patti is not to the manor born.

Like I said, neither is Bernadette. Angela had no problem playing high society or a scullery maid.

"Underdog: The Other Other Bronte" on National Theatre At Home is quite good. An irreverent period mash-up about the Brontes' sibling rivalry worth watching solely for Gemma Whelan as Charlotte who gives a blazing performance (I adored her in HBO's Gentleman Jack as the put-upon sister). Clever staging, too. (If you're bothered by color-blind casting or women swearing or men in dresses, this is not for you, nor is it a documentary.)

[quote] Patti is not to the manor born.

Oh, dear.

Really enjoyed Maybe Happy Ending. Sweet show.

There's also a lovely one-armed young actress in it, r330, to offend the squeamish.

I saw it in London last March and, though I'm a huge Gemma fan, was somewhat disappointed by the whole affair. Like it was trying too hard to be irreverent in its staging and not as funny as it thought it was. Gemma gave it her all, though.

I'm watching "Agatha All Along" with Patti and just saw a clip of Bernie on a talk show...

Italian women don't age well, do they?

I actually felt sorry for Patti...in certain episodes, she looked really bad, in unflattering hair and make-up. I mean, she IS a star...no one thought, "oh, this isn't the right wig for her...let's find a better one!" ?

[quote]I can think of a couple of instances where the understudy was BETTER than the name actor.

Karen Mason in Sunset.

Not from what I've seen on Youtube, r335. She certainly sings it better, but she doesn't have a movie star aura about her.

Yeah, I prefer my musicals properly sung. Crazy, I know.

If that's all you look for, r337, then just stay home and listen to the recording.

[quote]I LOVE Patti, but sophistication isn't in her wheelhouse. It isn't in Bernie's either.

I would have agreed with you about Bernie before A LITTLE NIGHT MUSIC, but I thought she was quite wonderful as Desiree. Although I guess one could say that character is sophisticated in an earthy way.

I would have loved to have seen her, r339. Desiree is an actress, she can feign sophistication if the role calls for it. Bernadette can do that.

Listened to Sunset today... it was ok but both Nicole and Tom have some weird line readings

I do miss The lady's paying and eternal youth

To R296. I loved Lynn. we spent a lot of time together through her work with The Actors Fund. We went to shows together, walked down the street, went to Sardis etc. I was always conscious in my head I was with a "Redgrave" and counted myself so lucky! She was the best.

R341, if you see the show, the songs are the last things you’ll notice are missing. The first things will be the characters, the plot, and actors with their hands not shoved in their pockets.

r331, "to the manor born" is perfectly correct.

Audra at the New Yorker Festival made a point that not a single word of the GYPSY text was changed. And that all of the questions regarding the ahistoric nature of a black stripper becoming famous in that era was covered by the show's subtitle, An American Fable. And that the next Sondheim show she wants to tackle is Night Music.

[quote]And that the next Sondheim show she wants to tackle is Night Music.

Who's Mme Armfeldt?

Using the word “fable” is a cop-out, IMO. Sorry, Audra.

How a Play About A.I. Lured Robert Downey Jr. to Broadway:

Saw "The Roommate." Whoever costumed and wigged Patti 1) has never met a lesbian; 2) hates Patti LuPone; 3) Mia Farrow looks like a Howdy Doody drag act. Sad, sad, sad.

[quote][R307]. Agreed about Belle Callaway. What a great performance. It's too bad she hasn't been on Broadway since because she's a mega talent.

Belle revisited the role of Roxie in 2003, r311, which would appear to have been her final performance on Broadway. The last credit I can find for her anywhere was in 2006, in Anything Goes, at The Richard and Karen Carpenter Performing Arts Center in long beach. California.

[quote][R307], I have always said that Belle Callaway (that's the correct spelling) was one of the very best Roxies I've ever seen, in terms of dancing, singing, AND acting.

It's Calaway, r313, but I expect you got autocorrected. Belle was indeed a true triple threat, and as r307 says, a really sweet woman. Hard to believe she only had 4 Broadway credits, a smattering of regionals, and one TV credit. I saw her opposite Jasmine Guy, who was an astonishingly good Velma.

[quote]Who's Mme Armfeldt?

Tony award winner Leslie Uggams, of course! If she goes up on a line, she can just make up her own!

Went to see the Deaf West production of American Idiot at the Taper today. I've never been a big fan of the show itself (I love the music, but the story is less than compelling) and this production, unfortunately, didn't turn me into a fan. The cast was mostly terrific, with two standouts (Milo Manheim, who played singing Johnny, and Landen Gonzales, who played deaf Tunney), and two truly dreadful performances (the woman who sang Whatshername, and Mason Alexander Park, who played St. Jimmy like he was doing Frank n Furter in a community theater Rocky Horror Show).

The big problem was the director. Yes, the space was small, probably too small for this show, but the director had no idea how or where to place his cast throughout, and severl scenes felt like traffic jams of bodies. He also seemed to have no concept for telling the story in general, and worst of all, he had no concept to make this a Deaf West show. It reminded me of John Doyle's production of Company, the director used his tried and true gimmick just because he could. I saw no reason why the concept of a hybrid cast was used here like I have in other Deaf West shows.

I can't imagine this production will transfer to Broadway, but I would love to see Milo Manheim in another musical. He has a beautiful voice.

Milo Manheim is adorable!

[quote]I actually felt sorry for Patti...in certain episodes, she looked really bad, in unflattering hair and make-up. I mean, she IS a star.

Not really.

[quote] [R331], "to the manor born" is perfectly correct.

No, it isn't. The phrase is "to the manner born." Not "manor," which is a common mistake. On topic for a theatre thread, Shakespeare created the expression in Hamlet: "But to my mind, though I am native here and to the manner born, it is a custom more honored in the breach than the observance."

[quote]Milo Manheim is adorable!

That's my boy!

BRAVO, r355!

I’d like to see an Audra McDonald Gypsy that is truly colorblind. She as Rose, an Asian as a daughter, a white guy as Herbie, Latina as other daughter and on and on.

We’re gone past being obsessed race/ethnicity

I' just like to see a good production of " Gypsy" without any added social statements.

God, the conservative backlash is even hitting Broadway and Datalounge. Sondheim himself approved of MacDonald in this role. This production will be far more faithful and intelligent about its source material than the camp fest across the street. But black Rose!!!

[quote] We’re gone past being obsessed race/ethnicity

Said no non-white person ever.

Liaisons are bustin' out all over, r351?

[quote]I’d like to see an Audra McDonald Gypsy that is truly colorblind. She as Rose, an Asian as a daughter, a white guy as Herbie, Latina as other daughter and on and on. We’re gone past being obsessed race/ethnicity

Not true at all. Some people are "obsessed" with maintaining traditional, non-colorblind casting, and others -- like you -- are obsessed with the opposite.

[quote]The fight between Patti and Faith had to do with equity fights aids. Attached is the article: she feuded with Faith, Peter, TR Knight and the stage manger over it

The article you linked to, r299, was written by Michael Riedel. He was a guilty pleasure to read by many, but he was never anything close to a bastion of truth. He often used his likely non-existent "sources" to push his version of events, like describing LuPone as throwing a “harrowing hissy-fit " and saying that she literally "picked up props and threw them at [the stage manager]". Seriously? LuPone is so scary that anyone would describe a hissyfit, even from her, as "harrowing"? Talk about being too tender to the touch to be in the business that we call show.

Also from that article:

[quote]The show’s producers met yesterday to discuss suing their star for breach of contract if she does not show up for this evening’s performance, production sources said.

It is common knowledge that LuPone has always objected to asking for money after the show even for good causes. In this case, the cast decided that only one actor would remain onstage to ask for contributions - but she was blind-sided and understandably pissed when FOUR actors stayed behind.

I've worked with Patti on a few shows. I can easily believe that she was upset enough by being surprised at that turn of events that she shouted at an SM, loud enough for an audience to hear. I do not believe for a second that she threw anything at anyone.

The claim that the producers considered suing her for taking a vacation for 2 days, even if it was at the last minute, is absurd.

Hate LuPone all you want. She's given plenty enough reasons for that, but please don't use Riedel as your source. Wikipedia defines him as a crrrritic!, but he was never anything more than a gossip columnist - and not a very good one at that.

I have spoken to 3 people who have seen this SUNSET who did not see the original, did not know the movie (I know, I know) and walked away thoroughly confused and annoyed. They all said "I had no idea what was going on." I have a feeling this is going to be like last season's CABARET - a few months of hype and then the general public stays away.

Audra in GYPSY is destiny, and we all know it. The part is our Broadway musical "Queen Lear" and we should all be happy she's taking her shot. I can't wait to see her in it.

Audra is a tackle? I thought she was more of a blocker.

Speak for yourself, R366. It's much safer in this case.

JOB closes today. A show screwed by the Times -- a rave off Broadway that got them uptown, then Jesse writes a ridiculous dismissal uptown. Try reading his review. It makes no sense.

The Audra Gypsy is a bd idea. The Bernadette (meh) and Patti (stellar) productions were too recent.

There isn’t an audience to make this break even.

When Off Broadway was alive, there was something of a handshake agreement with the Times that, if a rave review was published about the same show-Off Broadway, they would run the samee review when it transferred rather than writing a new review/ the only caveat is major cast changes. But since the Times rarely reviews any Off Broadway production that isn't featuring a major star or isn't part of the institutional theaters of NYC, it's kind of a moot topic.

When the person playing Tammy Faye is less flamboyant than anyone else in the cast, you’ve got a problem.

Those productions were 21 and 16 years ago. Tyne Daly was 35 years ago, Lansbury 50, and Merman 65. This is actually the longest gap between Gypsy productions on Broadway.

But neither of those were profitable.

R365, I was listening to the soundtrack the other day and while I respect many of the aspects of this adaptation, I think the cuts to lyrics seem random and often don't improve what was original (though I think they've much improved the emotional impact of the score.)

I think the rewrites aren't any better, though they certainly deliver a Betty for the times. In the Schwab's scene somebody sings about trying to score some blow and they even killed the line about Artie's workload... from "more like a slave" to "if I behave" and rewrote DeMille's line: "Beautiful and strong, before it all went wrong" to "resolute and strong, before it all went wrong." OK, not seeing the advantage there. I'm still not sure why the benefit of the cut to Norma's age by ten years. Not arguing it's sacred text but to me changes should make sense and strengthen. It's the story of a faded, nearly forgotten film star, so in my view it's OK to make references to long gone names people might not recognize. You should be able to grasp they were somebody once upon a time, which is kinda of a theme of the story. The absence of even a few props (like a monkey and the six movie sized script) don't help. To me there's two shows at work here: the original and Jamie Lloyd's pranks (the twerk culture tributes, the absence of the media in the final scene., etc.)

Still, it's powerhouse interpretation, if absolutely imperfect and Scherzinger's force is one of those performances many people will remember. Still, I agree, it's "a few months of hype and then the general public stays away". Though I would say the same thing about (in my view) the overhyped Hamilton. A unique spin on storytelling, but hard to follow and a fair amount of style over substance.

Other than the investors, who cares? Neither was Ragtime, and that’s gearing up for a third time in 26 years.

I recall/chuckle at the Forbidden Broadway lyric about the annual revival of Gypsy.

The “soundtrack,” R375? Oh dear.

Oh, God... I opened up that can of worms again, didn't I?

Here’s the Les Mis arena tour cast. Some of it is in Dutch. The guy playing Enjokras seems to be the lone American and he’s a hottie.

[quote] Milo Manheim is adorable!

He should have won DWTS, he was cheated out by the untalented Bobby Bones.

[quote]JOB closes today. A show screwed by the Times -- a rave off Broadway that got them uptown, then Jesse writes a ridiculous dismissal uptown. Try reading his review. It makes no sense.

Some of us would say the play itself makes no sense.

R380, James D. Gish has done several shows in NYC, including WICKED on Broadway (as Fiyero), and is a descendant of Lillian and Dorothy Gish! He is, indeed, quite gorgeous.

[quote]Oh, God... I opened up that can of worms again, didn't I?

r379, you sly puss.

A friend sent me an audience audio recording of Mandy's first Norma and her vocals are stunning. Love Nicole but Mandy has more warmth. Much more warmth. Probably the best sung Norma since Betty Lynn.

[quote]Probably the best sung Norma since Betty Lynn.

Why, thank you! But frankly I don't recall playing the part.

I didn’t see original Sunset on Broadway but am very familiar with the film. The big problem for me with the current show is Nicole S. looks too young and beautiful to play an old has been. So she just comes across as nuts instead of pathetic. I still enjoyed most of the new production.

I saw that Enjolras at The Muny last summer. The voice is unbelievable. They were smart to take him on tour.

[quote]I do not believe for a second that she threw anything at anyone

I beg to differ

[quote]I do not believe for a second that she threw anything at anyone.

[quote]I beg to differ—Patti’s Sunset Boulevard dressing room in London

Do keep up, dear r389. I was talking about a specific situation that Riedel claimed happened. There is a difference between taking up “a floor lamp and [using] it as batting practice and [throwing] it out of the second floor window.” to use LuPone's own words, and the very specific charge that Riedel claimed that LuPone threw props at her SM - the same SM who allegedly apologized to LuPone later.

It's over the top behavior, to be sure - but one is assault, and the other is not.

Again, Riedel offered no proof that any of what he claimed ever happened. That was his MO. He just made shit up, and attributed it to "sources".

Wait, Mandy Patinkin played Norma? Must have been excruciating!

[Quote] Said no non-white person ever.

It’s the white people who are fearing an Audra Gypsy.

But, the real Rose was White!!!

[Quote] Not true at all. Some people are "obsessed" with maintaining traditional, non-colorblind casting, and others -- like you -- are obsessed with the opposite

I am obsessed with the best person singing the role. It’s a show the actors singing and dancing—stop pretending that having everyone be white is somehow making this an accurate representation of life.

I have never loved GYPSY and only go because actors I like play the role.

Patti was stunning. I was hoping to never see it again but now Audra will do it

I'll be interested if Audra has the right voice for it.

[quote] I'll be interested if Audra has the right voice for it.

SPOILER: She doesn't.

I think the vocal range for Rose is Merman's keys was from low A to C. It's not especially rangy or difficult. If they adjust the keys so that the tessitura fits Audra's instrument. it should be just fine.

Angela Lansbury had a singing voice that couldn't be more different than Merman's and yet succeeded in the role of Rose.

R397 - I don't want to speak for R396, but I don't think people concerned about Audra's vocal suitability for the role are expressing that concern because of her range or capability of hitting notes. It would be ridiculous to state that she isn't one of the finest vocalists working in the theatre today. But, it's more about the suitability of the tone, color, character of her voice. I've seen her in concert a couple of times and have to say when she sings beltier/brassier more traditional capital-B "Broadway showtune" material her naturally operatic tone goes very shrill.

Yes, there's the case of Lady Day, in which she certainly shattered many of our preconceived notions of what she was capable of vocally. But, that was (an impressive) act of mimicry. I can't imagine she'll be "putting on" a voice/vocal type in Gypsy, but, instead, singing her in natural singing voice.

I'm still buying a ticket, because I'm very interested in her dramatic portrayal of the role and, of course, Wolfe's direction. I'm going in prepared to not be a huge fan of her vocal performance, but hoping to be proven wrong!

[Quote] It’s the white people who are fearing an Audra Gypsy. But, the real Rose was White!!!

No, pedant, that’s not the skepticism. But the writers didn’t write a musical about prejudice and race in the entertainment business in the 20s and 30s.

R400, and the version with Audra isn’t going to be about prejudice and race in the entertainment business

[Quote] I'll be interested if Audra has the right voice for it.

Having followed Audra’s entire Bway career, I can confidently say no one should ever underestimate what she can do

There’s definitely one thing Audra can’t do: eight a week.

I could understudy!

[quote]I am obsessed with the best person singing the role.

That's absolutely NOT what it's about, and you know it.

[quote]It’s a show the actors singing and dancing—stop pretending that having everyone be white is somehow making this an accurate representation of life.

The actors also sing and dance in the musical of THE COLOR PURPLE, but I don't think we'd want to see white people or Asians or Latinos in the leading and featured roles with the argument that the show is not an accurate representation of life anyway.

R393, I don't think you could be more disingenuous if you tried. But PLEASE don't try.

Audra's on Good Morning America and GMA tomorrow. Colbert's got Nicole Scherzinger tomorrow. On Tuesday, GMA's got a performance by Hadestown and GMA3's got Maia Reficco & Jordan Fisher by themselves. Darren Criss is on Tuesday's episode of Today. Colbert's also got Rachel Zegler and Jack Antonoff, plus the cast of Romeo & Juliet, on Tuesday. Finally, Julianna Margulies is on Friday's Live with Kelly and Mark.

Thanks, Talk Show Troll!

[quote]The actors also sing and dance in the musical of THE COLOR PURPLE, but I don't think we'd want to see white people or Asians or Latinos in the leading and featured roles with the argument that the show is not an accurate representation of life anyway.

Speaking of being disingenuous...

The Color Purple is story specific to the Black experience. Gypsy is not a story about being White. That said, in 100 years, no one would care who is playing the characters in The Color Purple--Black, Green, White, Yellow.

Shows have to reflect not only the characters in the story but the society we live in today.

Audra is any farther from Rose than, say, Patti Lupone. Obsessing on race as apparently the only characteristic that matters to character says more about you than it does the show.

Uh oh.

R408, Gypsy Rose Lee would only have had the national main stream success she did as a stripper in America in the 1940s because she was white. If she was Black? Uh uh. No fucking way. Pay attention. It’s fine with me if this Gypsy goes down the Bridgerton/alternative universe route but GYPSY IS NOT a “Black story.”

Well said, R408! 👏

[quote] The Color Purple is story specific to the Black experience. Gypsy is not a story about being White. That said, in 100 years, no one would care who is playing the characters in The Color Purple--Black, Green, White, Yellow.

Then that would be pretty fucking tragic, because it IS a story specific to the Black experience and therefore should be played with a Black cast. What you're suggesting is erasing history.

Anyone who attends theater in New York and regional theaters has been accepting cross-racial casting for decades. Back to the friggin’ 1980s. It’s only radical to bitter shut-ins.

[quote] Gypsy Rose Lee would only have had the national main stream success she did as a stripper in America in the 1940s because she was white. If she was Black? Uh uh. No fucking way. Pay attention. It’s fine with me if this Gypsy goes down the Bridgerton/alternative universe route but GYPSY IS NOT a “Black story.”

As if the story of the real Gypsy Rose Lee even matters any more. The only thing anyone remembers about her is how she's portrayed in the musical--and it doesn't even matter that it's based on a true story. Her life has gone from non-fiction to fiction.

[quote] Then that would be pretty fucking tragic, because it IS a story specific to the Black experience and therefore should be played with a Black cast. What you're suggesting is erasing history.

Plays only survive if they reflect a human experience. We all eventually get to the place that humans are all the same. That's how Shakespeare and yes, even The Color Purple, can be done is a cast of many colors.

[quote]Shows have to reflect not only the characters in the story but the society we live in today.

I would say that's very true of new shows, but when people try to retrofit old shows along such lines, the results are often ludicrous.

[quote]The version with Audra isn’t going to be about prejudice and race in the entertainment business

Are you sure about that? Because some things I have read about this production indicate otherwise.

[quote]The Color Purple is story specific to the Black experience.

Well, many people would argue that 1776 is very specific to the white male experience, but that didn't prevent the bizarre casting of the production that was most recently seen on Broadway (for a blessedly short run).

Yes, R418, and it didn't work at all.

[quote] I would say that's very true of new shows, but when people try to retrofit old shows along such lines, the results are often ludicrous.

The ONLY retrofit to Gypsy is that not all the actors are white. It's hardly ludicrous.

Shakespeare gets retrofitted all the time. I've never seen it seem ludicrous.

[quote]Well, many people would argue that 1776 is very specific to the white male experience, but that didn't prevent the bizarre casting of the production that was most recently seen on Broadway (for a blessedly short run).

The problem really is that 1776 isn't a great show. When you tinker with something that is already teetering, it falls apart.

[quote]Are you sure about that? Because some things I have read about this production indicate otherwise.

They have also promised that not a single word or note would be changed.

Worst thread ever?

Apropos of nothing (other than to change the fucking subject) Patti is really great in the most recent and very Patti-centred episode of Agatha All Along. It’s a very fine and nuanced performance, which are not words I’d usually ascribe to her - and I say that as a Patti devotee.

Just saw Oh Mary, and I’m surprised I haven’t heard anyone else. Say it’s like a very extended over the top Carol Burnett sketch— i’m just as endearing . You could even cast it with that troupe: Carol as Mary, Harvey as Mary‘s husband, Lyle Waggoner as Mary’s teacher, Vicki Lawrence as Mary’s chaperone , and Tim Conway as Mary’s husband‘s assistant

R425 - many of us in prior threads have likened it to an overly long sketch. Honestly, it's that quality that I think is both it's strength and weakness. Frequently entertaining, occasionally hilarious, doesn't add up to much.

If you are coming from out of town, Oh Mary has a 5 pm show. You can do a three show day (!) and it can balance heavier fare. It’s just silly fun, but sometimes that’s what you want. Just not at $300.

My friend who loves every show she sees saw Tammy Faye over the weekend and called it a dumpster fire of a musical. She said the lead was not worth bringing over when so many American actresses could have been just as lousy. I guess we know why Andy jumped ship.

I swear Tammy Faye is some kind of tax write off for Elton after that disastrous The Devil Wears Prada run in Chicago.

[quote]The problem really is that 1776 isn't a great show.

Said no one else but you, ever.

R430. I would say 75% of 1776 is good

The weakest part of it is the score, IMO. BTW, the Encores 1776 had colorblind casting and it was wonderful.

^^^Some of the score is a little weak, but much of it is excellent.

But even the weaker songs somehow work in a good production.

^^^Yes, and the weaker songs are not THAT weak, just not great.

Back in August, when I said Back To The Future would close in January and Clooney would take the Winer Garden, y'all scoffed. I knew what I was talking about. Flame away.

^^^^I don't know why anyone would have scoffed at that. Many people predicted that BTTF would not have a long run.

If anything, I would have been skeptical of the Winter Garden hosting a play, but I'll humbly eat crow.

Andrew Lloyd Webber Conjures New West End & Broadway Musical ‘The Illusionist’:

R435 and Eve WAS weak!

The problem with 1776 is not a weak score (although I can't remember a single song) but a book that is too strong. In fact, you could take out all the songs, and it would work fine as a play. One shouldn't be able to say that for any good musical.

There's a reason why ever recent production of 1776 has been a flop

Which productions are you referring to, R442? The most recent Broadway production was a flop because of the casting and direction, not the show itself. And the Encores! production was, of course, scheduled for a very limited run, but I think it was perceived as a success.

[quote]My friend who loves every show she sees saw Tammy Faye over the weekend and called it a dumpster fire of a musical. She said the lead was not worth bringing over when so many American actresses could have been just as lousy. I guess we know why Andy jumped ship

Audra is Tammy Faye!

I thought Rannells left over money, or was that just someone speculating?

[quote] The most recent Broadway production was a flop because of the casting and direction, not the show itself. And the Encores! production was, of course, scheduled for a very limited run, but I think it was perceived as a success.

There was a full Roundabout production --maybe 10-15 years ago? That wasn't received well.

I honestly have always found 1776 a big bore. I just don't care to see a musicalization of those events

[quote] Audra is Tammy Faye!

NO! NO! NO! Can't be done!! Only a White person should be able to play Tammy Faye because race is the only thing that matters in a person and blah blah blah

[quote]I honestly have always found 1776 a big bore. I just don't care to see a musicalization of those events

So stay home.

The Roundabout 1776 was somewhere between 1997-1998, back when they were still at the Criterion Center.

They moved it to Broadway. I saw it and really enjoyed it.

[quote]There was a full Roundabout production --maybe 10-15 years ago? That wasn't received well.

You should do a little research before you post things like that. The production was well received overall and ran for about a year, part of that run in a very large theater, so it was more successful than you think it was.

Gypsy Rose Lee was such an odd woman. I bet she drove Sondheim and Styne bonkers.

Whose idea was it to give her a talk show? Here she is with her guests Eartha Kitt and Lainie Kazan.

Vanessa Williams was on The Graham Norton Show last week (here in the US) to promote "The Devil Wears Prada" in the West End. I'm 90% certain the words Elton and John were never said by her or Norton, which seemed odd. They showed a clip from the production that made no sense out of context, but Williams assured us that the "cerulean" scene was in the show.

I loved Gypsy's talk show!

R452, I guess you didn't do your research because that 1776 revival opened at the George Gershwin Theatre on December 3, 1997, for a commercial run. It closed on June 14, 1998, after 333 performances and 34 previews. That's 7 months, not "about a year."

333 performances has Flop written all over it

And she didn't drive Sondheim and Styne bonkers. That was her sister, June.

[quote]I loved Gypsy's talk show!

r456 - Shouldn't you include the Criterion run from Aug. - Nov.?

[quote] Shouldn't you include the Criterion run from Aug. - Nov.?

No, the Criterion was not considered a Bway Theatre so didn't have to adhere to Bway standards.

We don't count off-Broadway performances for the Bway runs of ANY show. Why would we start with that production of 1776?

[quote]r453 Gypsy Rose Lee was such an odd woman.

I think she seems cool. She’s effervescent.

1776 was a big hit for Roundabout at the Criterion and a big disappointment on Broadway. It was a risk and could have bankrupted Roundabout. They closed after a shutout at the Tonys. Roundabout’s other production swept the season. A little revival of Cabaret.

[quote]Shouldn't you include the Criterion run from Aug. - Nov.?

[quote]No, the Criterion was not considered a Bway Theatre so didn't have to adhere to Bway standards.

If that's true, r460, then how was A Grand Night for Singing eligible for a Tony nomination?

R463, no idea but here are the stats for the Criterion Center:

Seat count The Criterion Center Stage Right had approximately 499 seats, which is below the 500-seat minimum for a Broadway theater.

Certification Broadway theaters must be certified by The Broadway League, the trade association for Broadway. The Criterion Center Stage Right was not certified by the Broadway League.

R463, according to AI:

A Grand Night for Singing was nominated for a Tony Award because it was produced at a theater that was eligible for Tony Award consideration at the time:

Eligibility

Before the rules changed, off-Broadway shows could be eligible for Tony Awards. In 1956, Lotte Lenya won Best Performance by a Featured Actress in a Musical for her role in The Threepenny Opera, an off-Broadway production

R376 Thank YOU! Unless you're an investor, who gives a fuck about the profitablity of a show? Or, bases a show's merit based on that? The nutty Sondheim haters love to trot that out when they bitch about revivals stating "why revive a FLOP?!?!?"

Uh, because it's a brilliant show that's much loved. And, frankly, it's a plus that the sweaty masses haven't embraced it...the sweaty masses tend to have basic taste.

Actually, I stand corrected. The 1993 A Grand Night for Singing won Best Musical.

[quote][R463], according to AI:

No offense, but I stopped reading right there, r465. Even AI admits that their content is often inaccurate.

[quote]Certification Broadway theaters must be certified by The Broadway League, the trade association for Broadway. The Criterion Center Stage Right was not certified by the Broadway League.

Not arguing, just curious. Do you know that for a fact, r464,or is this an assumption? Also, approximately 499 seats could mean 501.

You're likely right. The things I learn here - for example, I wasn't aware until today that ibdb also listed off Broadway shows.

AGNFS was a sweet show, but I don't know that it deserves a Tony. Victoria Clark was lovely.

If you can find a copy of Gypsy and Me grab it. Loving memoir of Erik Preminger's relationship with his mother. He said Gypsy was thrilled that her story was being turned into a musical that might give her financial stability. June was not happy with some of Gypsy's recollections but eventually gave in because she loved her sister. I'm surprised no one ever turned the book into a movie.

[quote] No offense, but I stopped reading right there, [R465]. Even AI admits that their content is often inaccurate.

In this case, AI was accurate.

Just having the right number of seats isn't what makes it suddenly a Bway theatre. It has to agree to pay Bway salaries, give Bway benefits, employ Bway union members.

Below you will find the link to the IBDB Criterion Center Stage Right page. You will find all the productions that played the theater. Only a small number transferred. Yet many of them were nominated for Tony Awards. So no, it was NOT an off-Broadway house. The space itself eventually added a smaller, off-Broadway house, but that was different than CC Stage Right.

But it was NOT an official Broadway House

R468 I love that book and I've always thought it would have made a great film or mini series! Back in the day, Christine Lahti would have been PERFECT to play Gypsy!

It really is surprising that no one had done a series about all of them...Rose, Gypsy, June. It's a complicated, juicy story. Karen Abbot's biography American Rose really got down to the very sad nitty gritty of it all. Gypsy sanitized her story...it was really very sordid and sad. Lots of sucking producer/gangster's cocks to get ahead. And, of course, Mama Rose was allegedly a murderous nutty lesbian.

Ya gotta have a gimmick!

I thought it was common knowledge that, at a certain point, shows that played at the Roundabout's Criterion Center became Tony eligible despite the number of seats in the house. The Roundabout has long since been operating under a LORT contract and so are able to produce their shows at lower cost, with much lower salaries for everyone involved, for limited runs in houses that are considered Broadway houses, including Studio 54 and the (now) Todd Haimes Theater. It's only when and if those productions graduate to commercial runs that the theatre needs to begin paying Equity production contract salaries. The same applies to MTC and Lincoln Center Theater.

P.S. I hold to my opinion that the Roundabout's 1997 revival of 1776 should not be considered a flop, even though it was not a financial success. It ran too long, in two separate theaters, to be considered a true flop.

Because it went to Broadway after three months of playing to NYC audiences and I would think that would affect the Broadway run, r460. I'm not saying it was a big hit.

R475, but we don't use that criterion for the success of any other show that starts Off-Bway.

Rent and Hamilton, for example, started off Bway but that didn't affect their Bway runs AT ALL. Why should we consider 1776's Off bway run as part of its success?

Well, at least Captain Ahab and Starbuck have a new bone of contention.

I don't know why we're being trapped in this long, boooooooring arguement over a revival of 1776 but that's the fun of DL!

R476 You're comparing a revival of a musical to the original runs of two hit musicals. Not the same thing at all. Between the first staging off Broadway and its subsequent transfer TO Broadway, it ran a good 9 months which is nothing to sneer at. It apparently didn't break even (per previous posts on here; I don't care enough to track down actual numbers because...who cares?)

Again, unless you're an investor, who gives a fuck about $$$$ ? A show ran 9 months and employed quite a few people and thousands of people paid to go see it. If 30 investors lost a couple bucks, I don't really care.

Again, r476, I'm not talking about success, I'm saying if it had already played three months, that would affect the length of time it would run on Broadway...unless of course it was a big hit. I would still say the show ran in NYC for 10 months.

r459 & r475

[quote] NO! NO! NO! Can't be done!! Only a White person should be able to play Tammy Faye because race is the only thing that matters in a person and blah blah blah.

I see your point, absolutely a black person should be able to play a white person. But if a white person plays a black person, watch it, buddy!

[quote] I see your point, absolutely a black person should be able to play a white person. But if a white person plays a black person, watch it, buddy!

White people have played Black and minority characters for a few centuries at this point. Isn't it time to give Black and minority actors a chance?

[quote] You're comparing a revival of a musical to the original runs of two hit musicals. Not the same thing at all. Between the first staging off Broadway and its subsequent transfer TO Broadway, it ran a good 9 months which is nothing to sneer at.

Please stop.

You keep throwing in one condition after another in the hopes of showing that 1776 must have been a hit. It wasn't no matter which way you cut it.

So, a fully traditionally staging flopped. Hardly any productions since--just a flop female version.

It's the boring show, not just the production.

Everyone knows why "1776" was a flop, and it all had to do with concept.

Datalounge folks often enjoy trampling on others, so you will find them scorn any show that lost money. That is the technical definition of a flop, but it then defines shows like Sweeney and Ragtime as flops.

Roundabout definitely considered the off-Broadway run to be a hit.

[quote] Rent and Hamilton, for example, started off Bway but that didn't affect their Bway runs AT ALL. Why should we consider 1776's Off bway run as part of its success?

JFC, you idiot. It has been presented to you more than once that the 1997 production of 1776 was ALWAYS ON BROADWAY. The Criterion Stage Right was considered a Broadway house. From its first production, which was Starmites, to its final production, which was a revival of The Lion in Winter, its shows garnered dozens of Tony nominations.

Geez Louise, r471, r469, r465, r464, and r460, maybe switch to decaf? This was an interesting intellectual conversation before you turned it confrontational and rancorous.

[quote]Just having the right number of seats isn't what makes it suddenly a Bway theatre. It has to agree to pay Bway salaries, give Bway benefits, employ Bway union members.

I never said it was. I even said that you were probably right. I just asked if you knew for a fact that The Broadway League did not certify the Criterion a Broadway house. In retrospect, it was silly of me to ask. You obviously are just inferring that, because otherwise you wouldn't be using AI to buttress your side of our little exercise. AI is an entire flight of steps down from Wikipedia, which I would also never use in a discussion.

For what it's worth, the Criterion's AGNFS actors were Equity members (though as r474 says, probably on a lesser LORT salary), and the crew were IATSE Local One union members, including an apprentice, complete with benefits. That is a fact.

That said, you probably inferred correctly. It's just one of those odd little anomalies, like "why was Joan Jett allowed to do a Broadway show without becoming an Equity member?" That didn't turn out well at all.

Anyway, I'm out of the "Criterion: was it or wasn't it?" discussion. I never really cared that much. I was just curious. It was a mildly diverting exchange until you made it weird, r471. This thread isn't big enough for *two* sets of queens bickering about something inconsequential, so I'll be the bigger queen and exit - stage right.

It was that production of ANNA CHRISTIE at the Criterion Center starring star-crossed lovers Liam Neeson and Natasha Richardson (and Rip Torn and Anne Meara) that finally turned around The Roundabout's status from frowsy revival house with middling NY stage actors to a leading and starry Broadway light. Todd Haimes was finally getting some respect.

I bet you two are the same assholes who were derailing the other thread with your tedious debate over the spelling of "theatre" vs. "theater." I hope you both get a relentlessly itchy STI.

Oh for Christ sake, The Roundabout "1776" would have done better in a transfer if it hadn't gone to the cavernous Gershwin. That is a terrible venue to book. That's why "Wicked" has filled the place for twenty years. It's a barn and needs a spectacle and lucky for them "Wicked" came along.

Criterion Stage Right at 1530 Broadway was designated a Broadway venue. Perhaps there's some confusion because under the same roof, there was an off-Broadway venue too: 1530 Broadway was also the former home of the Laura Pels Theatre until 1999. The current Laura Pels, at a different address, opened in 2002.

Criterion Center also housed the Roundabout's aggressive telemarketing operation, widely known back then as a dreadful actor "survival job."

The Criterion Center was torn down to make room for the Toys R Us with the Ferris wheel inside.

I'm surprised looking at that list of Laura Pels plays at r490, how many productions were revivals of classic plays. I (mis)remembered it as a space for only new plays.

Yes, The Criterion Center was a Broadway House. The musical STARMITES played there, and it was nominated for six Tony Awards!

The old Edison Theatre was also a Broadway House with 499 seats. Several shows that played there got TONY nominations. The last show - Those Were the Days - got a Best Featured Actor in a Musical nomination for wonderful performer Bruce Adler.

You're not going to stop until one of you dies, are you?

Criterion Stage Right was one of several 499-seat houses that were considered Broadway theatres. In addition to the Edison, mentioned at R492, there was the Rialto on Broadway between 42nd and 43rd Streets (home of some horrible shows like Marlowe, Musical Chairs and A Reel American Hero), the Princess/22 Steps at 48th between Broadway and Seventh (home of Pump Boys and Dinettes, and some stink bombs like Fearless Frank, Coquelico and Censored Scenes from King Kong), and the Playhouse, the one west of Eighth Avenue where Quilters played, not the one that used to stand across the street from the Cort.

R493 Jesus...take the wheel and kill both of them TONIGHT!

IBDB counts the Criterion Center State Right AND the Gershwin Theatre performances. BUT, together, they just total 333 performances.

Great for a nonprofit theater’s bottom line but certain not anywhere near a hit commercial production

[Quote] Everyone knows why "1776" was a flop, and it all had to do with concept.

And the show is a bore

This thread is a bore.

There was an invited dress rehearsal tonight for Swept Away. Is there any early word on that show?

Does the star of Swept Away do the same weird accent that Madonna does in the movie?

[quote]R481 White people have played Black and minority characters for a few centuries at this point.

Thank you!

It's not perfect, but for flops, I tend to use the criteria for Not Since Carrie: less than 250 performances if it was an open run. The Outsiders crosses that threshold in mid-November. Hell's Kitchen and The Great Gatsby cross it in early December.

I don’t see Swept Away catching on. The first half is interesting and at points thrilling, but the bizarre story just doesn’t seem like any reason to spend two hours in theater. Plus it will repel a large chunk of the audience. Music and the cast were all solid, and I really liked John Gallagher, Jr. Broadway didn’t really need a second musical on this particular topic.

[quote]IBDB counts the Criterion Center State Right AND the Gershwin Theatre performances. BUT, together, they just total 333 performances. Great for a nonprofit theater’s bottom line but certain not anywhere near a hit commercial production

Maybe not a solid hit, but neither can 333 performances of a musical REVIVAL be accurately counted as a flop. Not in my book, anyway.

R503, what was the first Broadway musical on this particular topic?

Gatsby is selling tickets through September 2025.

[quote]Gatsby is selling tickets through September 2025.

Wow, good for them. With those reviews I would have guessed a 6-month run at best. Is it all thanks to Jeremy Jordan?

Did anyone attend Bernadette's Carnegie Hall concert? How was it?

R508 really fabulous.

She did the standard concert but added Gimmick with Julie Halston and Heather Lee. She also encored with Move On.

The REAL moment was the very end though when she sat on the edge of the stage ( a la Judy Garland) and sang the prettiest version of Anyone Can Whistle with just piano (she has never done that in concert before, only With So Little To Be sure of)

R509 - aw. That's lovely!

[quote]The Roundabout "1776" would have done better in a transfer if it hadn't gone to the cavernous Gershwin.

Fun Fact: Sweeney Todd with Angela Lansbury was the first show to play at the Gershwin.

^^^No, that theater was still called the Uris when SWEENEY TODD played there. And SWEENEY was not the first show to play at the Uris.

Do you want to try again, R511, or just give up? Maybe the latter would be the wiser course of action.

R511, that’s simply incorrect. When “Sweeney” was there, it was still called The Uris, which opened in 1972 with the flop musical “Via Galactica”. The first musical to play it after it was renamed The Gershwin 1983 was the revival of “Show Boat” with Donald O’Connor.

That was neither fun, nor a fact.

It doesn't matter what the theater was called at the time, it was still the same building and Sweeney Todd was the first show to play there.

Fucking Christ, is that what this thread has become--bullshit bickering about what the name of some theatre was 500 years ago?

R515, stop embarrassing yourself.

No, R515, BOTH parts of your original post were incorrect. And why are you doubling down on your misinformation when it's so easy to find the truth?

Girls, girls--you're both tired cunts. NO ONE GIVES A SHIT.

Tonight on Broiadway the roles of Alice Paul, Genie, Daisy Buchanan, Ali, Sally Bowles, Joe Gillis, Norma Desmond, Grover, Harold Zidler, and Shakespeare are among the roles to be played by understudies, standbys ,or alternates.

Where was DUDE? Was that at The Uris? Did anyone besides me see DUDE? SEESAW was also an early show at The Uris. I loved that one, saw it several times.

R521 did you see national tour SEESAW too? It was heavily revised, according to some sources, and an improvement over the Broadway version, which was pulled together in a hurry.

I did, r522! Had a friend who worked backstage on the SEESAW tour so, saw it a few times. It was indeed a better show on the tour with the revisions and cuts though I don't think Lucie Arnaz, great as she was, was really as spectacular as Michelle Lee. Nor was John Gavin as good as Ken Howard. I wish Encores would do the show. Such a great tribute to NYC in the 1970s.

r514=Linda Richman

Is Tammy Faye as horrible as the clips make it seem? The music sounds totally generic and the scenery looks low rent. And when did C Borle get pear shaped and paunchy?

[quote]Fucking Christ, is that what this thread has become--bullshit bickering about what the name of some theatre was 500 years ago?

My Mom knew when I was a kid the name wouldn't last when were walking down the street as a family one Saturday afternoon and my 10 year old brother proclaimed "There's the new Uterus Theater!"

"Where the hits are born!"

Was The Uris named for Leon Uris who wrote Exodus?

understudies.org is a great site. I've been following for about a month now and it's interesting that Eva never plays all 8 performances of Gatsby. She's out at least once or twice a week. Sutton was out of Mattress all weekend. Rendezvous with Hugh?

R521, I've mentioned before that my first lover, Gary, was an assistant on both Dude & Seesaw. He also worked on Rachael Lily Rosenbloom. So many stories. I met him in 1974 when we both worked on Why Hannah's Skirt Won't Stay Down. He was the PSM.

Check out the review in the NY Times (use Reader View Mode). It's unimaginable that anyone would spend so much time on a review today.

R520. Add Betty Schaeffer to that list. So, tonite, SB has Mandy as Norma and understudies for Betty and Joe.

I think a black Rose makes much more sense than a black New Hampshirite circa 1901.

Dude played the Broadway Theater (for whoever above thread asked).

Another fan of the Seesaw tour here. I saw it twice in Philadelphia. It’s probably too dated to fully revive now, but it would be great if Encores did it. But who would play the Tommy Tune role? Please discuss at length so the yawnfest above will die on the vine.

Although advertised, Lucie didn't want to do Denver. I still haven't quite forgiven her.

I think Seesaw would be perfect for Encores.

Did Gary talk Lucie out of Denver?

First preview of Swept Away tonight. Anybody who's going please report back.

This might be mentioned on another thread, but Cynthia's sowwy, you guys.

[quote]“I Probably Should Have Called My Friends”

Ya think?

A well directed, well cast production of 1776 can still be absolutely thrilling. I saw a regional production a few years ago and it was terrific.

The Roundabout was a joke, it was so amateurish.

Don’t start, r532.

[Quote] And when did C Borle get pear shaped and paunchy?

It’s a costume, Sherlock.

The Signature Theatre's new revival of A Funny Thing....has male as well as female courtesans.

Discuss!

The rest of us were just ignoring it, r542. You aren't helping.

While Tammy Faye is dying on Broadway, Prada looks like it's going to be a huge hit in London. The first month is basically sold out. How often does that happen?

SWEPT AWAY is gonna get swiftly swept away.

Can someone please close "Drag -- the musical"

Prada in London, really, r546??

I kept reading horrendous reports about its pre-West End regional run on the London theatre gossip site TheatreBoard.com

Check it out if you don't believe me. I think if the first month is selling well it's by crazy types who can't miss a huge flop.

ALW has officially lost it.

[quote]“I Probably Should Have Called My Friends”

Does she have any?

I haven’t seen it, r544, but Signature is really struggling. They did a Sondheim-focused season after he died, but chose two shows that had far better Broadway productions. Poor sales, though Pacific Overtures did better because it wasn’t on Broadway and it’s a much better show than people think,

Like last season, this one is mostly off point. Not bad, just unnecessary. Schaeffer was far from brilliant, but he had a good instinct for generating interest.

The first thing I saw at the Uris was Porgy and Bess.

R550, is he staying at Trump International at Columbus Circle because that’s where he’s crossing the street

I dare Encores to do Oh! Calcutta!

I had a male and a female Gemini when I directed Forum and that was forty years ago. Hardly a new idea.

Saw the dress of Ragtime tonight. Spectacular. grab a ticket.

That's good to hear, r557.

R557 I have tickets Thursday.

I saw the Roommate. It wasn’t horrible but it wasn’t fine art either.

Poor Patti. She was stattled with the worse character of the two and she was something between Kathy Bates and Rosie O’Donnell.

r547: Do tell.

[quote]The Signature Theatre's new revival of A Funny Thing....has male as well as female courtesans.

And a female Pseudolus, which is utterly ridiculous, the Whoopi precedent notwithstanding.

[quote]Where was DUDE? Was that at The Uris? Did anyone besides me see DUDE? SEESAW was also an early show at The Uris. I loved that one, saw it several times.

"Dude" was up the street at The Broadway.

You're welcome...

[quote]R550, is he staying at Trump International at Columbus Circle because that’s where he’s crossing the street

R554 - oh gosh! Good catch. I was so distracted by his crypt keeper gait that I didn't even pick up on that. Honestly, that fucking ancient Tory probably loves Trump.

Since DL was down yesterday does that mean some marquee stars sent their understudies on last night and were not called out by DL?

How is that fair to me??

Jeremy Jordan's leaving Gatsby in January.

[quote]"Dude" was up the street at The Broadway.

Correct. It was another Galt MacDermot musical, VIA GALACTICA, that opened what is now the Gershwin Theatre, then called the Uris. Those are the facts, regardless of what a certain idiot above keeps insisting.

Yes, the famous story being that the origial title for Via Galactica was Up, but someone realized that it might not look so good on the Marquee:

UP URIS

[quote] Saw the dress of Ragtime tonight. Spectacular. grab a ticket.

I adore Ragtime, but Ive seen two productions in the last 20 years. That's more than enough for me.

Thank you for that invaluable contribution to this thread, R569.

Will be interesting to see what happens to Gatsby after Jordan. Is he the draw? Will grosses tumble? Will they get another name? Will it matter? I think that show has been a surprise all along.

This just in via press release: "Perfect Crime to Celebrate 15,000 performances on December 5, 2024"

The subtitle should be, "Taking advantage of ignorant, taste-free audiences since the 1980s!"

Gatsby hanging on as long as it has definitely surprises me. It's clearly not a cheap show.

I know the Gatsby lifestyle; I'll play the part...if I'm not in jail.

Since over 10,000 people a week for 23 weeks have seen Gatsby I'd say it's more than just hanging on...

Poor choice of words on my part: "lasting as long as it has ..." For what it's worth, I don't outright hate the show, I'm just still surprised they went for playing so much of the story for genuine romance.

Real Women Have Curves will play the James Earl Jones. Assuming that Maybe Happy Ending and Swept Away don't close early, and Oh, Mary! still closes in January, that leaves the Lyceum for Glengarry Glen Ross.

Not to go full "Oh, Mary!," but the success of such a poorly written, ridiculously cast show as The Great Gatsby is very disturbing because proves that many people, especially young people, have no taste and can't recognize swill when they see it. All they care about, apparently, is seeing a star onstage, no matter how lousy the vehicle.

Swept Away opening during the holiday season - especially Thanksgiving - is a TERRIBLE idea.

I'd like to have a long fight about the old, demolished Ziegfeld Theatre. Any takers?

Morosco Theatre or GTFO!

When it's time, here's the new thread.

[quote] Thank you for that invaluable contribution to this thread, [R569].

Just giving you the reason why the theatre will be pretty empty this time around.

[quote] This just in via press release: "Perfect Crime to Celebrate 15,000 performances on December 5, 2024. "The subtitle should be, "Taking advantage of ignorant, taste-free audiences since the 1980s!"

I recently saw an ad for "Perfect Crime, the musical" Are they related?

Why doesn't anyone ever miss Maxine Elliott's Theatre?

Team Eltinge

[quote]I recently saw an ad for "Perfect Crime, the musical" Are they related?

I don't know, but what fresh hell is this???!!!!

I have to wonder what other movies that girl has seen "in her entire life?"

[quote] I'd like to have a long fight about the old, demolished Ziegfeld Theatre. Any takers?

Just for you, R580, a color recreation of what the interior of the Ziegfeld Theatre looked like...

And the chandelier.

Now that the Grammys will depart from CBS in 2027, should we be worried about the Tonys' TV survival?

In the next thread, can we bitch about I Love My Wife?

Happy 21st birthday, Wicked!

Now that I'm looking, there's been four Broadway shows to last 21 years or longer, and eight West End shows.

Here's the new thread ...

Closing ...

this ...

one out ...

BAJOUR!

Bajour!