THEATRE GOSSIP #592: Audra Doesn’t Know Her Edition

Even a new thread can’t help Oh, Mary. It’s still overripe and overrated.

Grosses are out.

R2: The fact that this overrated piece of shit play is in the running speaks to how dismal this current Broadway season is.

I'm putting my money on Jasmine to swoop in and steal the Tony

When are BOOP and REAL WOMEN HAVE CURVES going to call it quits?

R6: And apparently they're not into Floyd Collins and Dead Outlaw either.

Watched the Great Performances/Barbican Kiss Me, Kate last night. The best things about it were the set and a tall, handsome bearded guy in the chorus. Unfortunately, he was in the back most of the time (because: tall). A quick Google search today tells me his name is Lucas Koch. It appears he'll be in Evita with Rachel Zegler later this year.

He’s Cooper’s cousin

Is Andrew Durand gay? In the interviews I've seen or read, his private life never comes up. He did a dual chat with Taylor Trensch who was queer as can be, but Andrew kept his powder dry, so to speak.

R10: I think he's straight. I believe that's his girlfriend at 2:44 in the video. He's not my type though.

Yeah he gave an interview once that talked about him being a straight man in musical theatre.

They are usually the queeniest

I seem to remember Andrew used to date a woman who's quite a well known theater performer, but for the life of me, I can't recall who that is.

R13 was it Kecia Lewis?

I do know that Andrew has a terrible singing voice.

Many people feel Andrew Durand is a good singer with a fine voice, so you shouldn't state your weird opinion as fact.

[quote]A quick Google search today tells me his name is Lucas Koch. It appears he'll be in Evita with Rachel Zegler later this year.

He was also in 2023's [bold]Crazy for You[/bold] in the West End, with Charlie Stemp.

Lame, OP.

What do dl-ers think of John Proctor is the Villain?

I didn't read the other threads. Can someone fill me in on what happened between Patti and Audra?

It was a drug deal gone bad…

John Proctor is a very good play with an excellent cast. Nothing to praise to the skies, but an enjoyable evening.

We had a quarrel, R20, a lovers spat

I write "I'm sorry," but my letters keep coming back

Andrew Durand is cute and seems like a nice guy.

Twirling my projections

in opposite directions

This is kind of funny. Hasbeen Sam Harris inserted himself for no good reason by releasing a video chastising his “friend” Patti LuPone for her words, and people shit on him for equating his gayness with the black experience, so now he had to release his own apology statement where he said he needs to listen more. If he had never inserted himself into the whole thing, he wouldn’t have gotten himself into this shitshow to begin with.

I also think Andrew Durand is quirky cute, and I'm glad he mooned in Ink.

R25, that production of LET IT RIDE also starred a very young George Gobel. He had a beautiful light tenor voice - hard to imagine that he became a well-known comedian. LET IT RIDE is one of my favorite scores.

And he was the first to sing the words "People need people" in a Broadway musical song, not Streisand...

Thanks for this new thread, OP! Will we fill it before the Tonys?

Of course, we will.

A young, cute George Gobel (with Guys & Dolls' Sam Levene).

I assume the SMASH fans ("There are dozens of us! DOZENS!") and/or creatives DGAF about getting shut out.

I think a cute number on the Tonys' would do more to boost Boop's BO than Jasmine winning.

Why did Sarah Snook win a Best Actor Drama Desk Award when there was a category for Best Solo Performance?

[quote] And he was the first to sing the words "People need people" in a Broadway musical song, not Streisand...

Didn’t Babs sing “people WHO need people”?

George Gobel was not that young when he starred in Let It Ride on Broadway in 1961. He was 42 and had already been a big star on 1950s TV. I don't see the "cuteness" others are seeing, even when younger.

I was an apprentice in 1970 at the Ogunquit Playhouse when he came through in a production of Play It Again, Sam. He was always on the phone in the green room with his bookie.

I so Gobel in Last of the Red Hot Lovers with Jane Curtin also in the cast.

[quote]that production of LET IT RIDE also starred a very young George Gobel.

The "very young" George Gobel" was past 40 when he did "Let It Ride" in 1961 and had already headlined "The George Gobel Show" on NBC from 1954 to 1959 and on CBS from 1959 to 1960.

Hello, r37!

I'm afraid that Boop!, SMASH, and DEAD OUTLAW are already goners. Lots of whispers about their Fall replacements, with CHESS set for the Broadhurst.

Are they waiting on renovations to the Imperial, or will that happen after the next tenant? Was that tied to the 780 Eighth Avenue project? Is that even still a thing?

Oh, never mind ... it's 740 Eighth Avenue, and it's still moving forward.

There's still a planned renovation for the Imperial.

Lots of closing notices next week and not just for this season's new shows.

The tourists just haven't come back.

Wow, “The Outsiders” is still packin’ ‘em in.

The tourists may not be coming back, but "Beetlejuice" is.

Who will win the Tonys.

I wonder how often the costumes were changed in the original A CHORUS LIKE. I don't mean the leotards and tights, which would be easy to replace, but the shirts and pants, etc.

Like, say, Robert Lupone's costume: How many times can you wash a shirt and pair of pants that are danced in every night before they fade and lose their shape? And how similar is the replacement going to be? Did Theoni V. Aldredge buy multiples of stuff as backup when originally putting the show together?

I have never thought of this before and now I'm curious. I wouldn't think anything was built for the show secifically, except the finale tuxes. So, how do they find identical replacements? And when?

How much longer can Cabaret hang on? The current leads are leaving soon and no replacements have been announced. Billy Porter just finished up in London. I wonder if he would come to Broadway.

I still can't believe Darren Criss will soon be halfway to EGOT.

[quote]r48 How much longer can Cabaret hang on? The current leads are leaving soon and no replacements have been announced.

Is Patti available?

She should spin this redemtion arc for all its worth. Publicity's publicity!

[quote] How much longer can Cabaret hang on?

Don’t they make a lot of money through bar sales?

[quote]Andrew Durand is cute and seems like a nice guy.

He is a very nice guy, he is cute, and he's one of those men who has a banging body although you would absolutely never guess that when you see him fully clothed. His body is not big and muscular, but insanely ripped and well defined, as anyone who saw him in SHUCKED can tell you.

More stuff gets built than you'd think, r47.

Is Dead Outlaw worth seeing?

[quote] Like, say, Robert Lupone's costume: How many times can you wash a shirt and pair of pants that are danced in every night before they fade and lose their shape? And how similar is the replacement going to be? Did Theoni V. Aldredge buy multiples of stuff as backup when originally putting the show together?

[quote]I have never thought of this before and now I'm curious. I wouldn't think anything was built for the show secifically, except the finale tuxes. So, how do they find identical replacements? And when?

You really think Broadway costume designers are buying off the rack?

With very few exceptions, all costumes are created by the costume shop

R55 True to a certain extent but ACL was largely costumed with dancer's rehearsal clothes. I mean, they didn't have 30 seamstresses knitting dance tights in a backroom at Barbara Mattera.

[quote]R55 You really think Broadway costume designers are buying off the rack?

But it started Off Broadway.

Cassie’s costume was the only iconic one.

[quote]Is Dead Outlaw worth seeing?

I thought it was great, but if you want to see it, you'd better hurry.

[quote]R58 Cassie’s costume was the only iconic one.

It’s also one of the ones you could but at Danskin.

BUY at Danskin ! !

When are they pulling the plug on Smash?

Dead Outlaw is a great musical. I saw it twice and loved it. It might not be splashy enough for what passes for Broadway nowadays but it is flawless. Also, its main theme, is very much of our times.

I bought at Alexander's. I BOUGHT at Alexander's.

Well, I *shoplifted* at Alexander's!

I would add Morales' and Zach's rehearsal costumes as being immediately identifiable if that's your definition of iconic.

I cruised the tea room at Alexanders.

[quote][R55] True to a certain extent but ACL was largely costumed with dancer's rehearsal clothes.

You obviously don't know how it works, r56.

By the way, Theoni considered ACL her masterpiece.

I also loved DEAD OUTLAW. A true original.

Anyone work with Valerie Mahaffey RIP onstage?

DEAD OUTLAW is original, yeah, and consistently interesting, But it definitely lacks something, whether it is heart, as some have stated, or something else. And the rockabilly/country score is not to everyone’s taste.

But definitely go in the next few weeks and than tell us what you thought.

I worked with Valerie on stage years ago. Loved her.

R65. Well, I *shoplifted* at Alexander's!

- Celeste Holm

[quote]By the way, Theoni considered ACL her masterpiece.

Will forever be thrilling.

Who didn't shoplift at Alexander's, Celeste?

I never liked Zach's original costume. Too matchy matchy. He seemed like someone who would wear jeans and a turtle neck.

[quote]He seemed like someone who would wear jeans and a turtle neck.

Not to Michael and Theoni.

Should Dead Outlaw tried for an Off-Broadway run? Or do only STARS make an OB run work financially these days?

Just give it up already Real Women Have Curves.

Most people who actually have seen Real Women Have Curves enjoyed it, including me. It’s not a masterpiece, but it’s a shame that a well-crafted book musical can’t have a decent run.

Next season looks very missable. I am looking forward to Ragtime, but the other revivals feel like regional theater.

There hasn't been a big musical since Hamilton, and that premiered 10 years ago. I don't understand why nobody is writing big musicals anymore? We've seen several big plays premiere in the last 10 years, but no big musicals.

We don't have brilliant creatives at present, r81. Who are the visionaries?

R78=The off-Broadway run of Dead Outlaw is what convinced them they just had to play Broadway.

[quote]R76 I never liked Zach's original costume. To matchy matchy.

He was a fag.

No sooner did I wonder when there'd be a Pollyanna musical and I read today that Debbie Allen is producing/directing one called POLLY, based in the Deep South.

I read some of the ACL costume ideas were pulled from what the dancers rehearsed in, themselves. Pamela Berlin wore a pair of sneakers one day with her tights and Michael Bennet liked the look. When Kelly Bishop wore an old, undersized leotard because everything else was dirty he thought it made Shiela look like a “naked, vulnerable child.” Thommie Walsh requested a neckerchief and Donna McKechnie wanted a rehearsal skirt because she knew she looked good in them.

Michael Bennett invited Theoni and her assistants into rehearsals daily to observe and photograph (with Polaroids) what the dancers wore each day.

Of course, this is nothing unusual and what many costume designers might do designing any modern dress play (or musical). Even though the actors are portraying characters and not themselves, great costume designers know the clothes have to be comfortable on the actors and look believable on their bodies to make them work.

Pam Blair, not Pam Berlin who is (was?) a director.

^^ yes, thank you

[quote]R87 great costume designers know the clothes have to be comfortable on the actors and look believable on their bodies to make them work.

It helps if they’re drawn to what they’re wearing, too.

Edith Head wrote, “You can lead a horse to water, and you can even make them drink, but you can’t make actresses wear what they don’t want to wear.”

Real Women Have Curves will have a life after its short B'way run. It's the type of female-centric show that the regionals/community/educational theater loves. There's always more gals than guys in theater.

Dead Outlaw is an arty intimate show with a small cast and it'll get productions.

I don't see Smash doing well.

Ironically, I don't think Death Becomes Her will do as well as other "hits" because it's a tough show to do. All those tricky effects. And, a lack of actual good songs.

[quote]R55 You really think Broadway costume designers are buying off the rack? With very few exceptions, all costumes are created by the costume shop

So, this tee shirt would have been specifically sewn for Pam Berlin/Blair, at the Public Theater? That seems rather expensive to do. And the jeans, tees, and zippered sweatshirt behind her - all custom made?

I’d think they bought what they could, dyeing items if they had to to fit the color scheme, and then once the show was a hit when a piece wore out they would have it copied by a costume house. Then a collection of patterns would begin to build up for replacement performers.

The other consideration is many of those clothes should look broken in… not new. Which goes back to how long did they last, being washed 8 times a week? They would have been DRENCHED with sweat!

[quote]Jon Bernthal and Ebon Moss-Bachrach to Headline ‘Dog Day Afternoon’ Broadway Adaptation

[quote]So, this tee shirt would have been specifically sewn for Pam Berlin/Blair, at the Public Theater? That seems rather expensive to do. And the jeans, tees, and zippered sweatshirt behind her - all custom made?

Yes, r92, as has been explained.

[quote]The other consideration is many of those clothes should look broken in… not new.

They're dyed and distressed to look that way.

R85.....

*

If you don't know already and still have cable, CNN is broadcasting the penultimate performance of Good Night, And Good Luck live this Saturday at 7:00 pm Eastern (4:00 pm Pacific). As it's at the Winter Garden I'm hoping the ghost of a Follies showgirl wanders by.

[quote]I'm hoping the ghost of a Follies showgirl wanders by

I'm wondering if that Dog Day Afternoon production won't be highly theatricalized in some weird (probably off-putting) way. Not that a literal recreation of the movie would be welcome.

Polly is a 1989 American made-for-television musical film adapted from the book Pollyanna by Eleanor H. Porter featuring an all African-American cast (with the exception of Celeste Holm).

I wonder which theater will get Dog Day Afternoon. Rumors are that the Broadhurst has Chess.

One night in Broadhurst and the world's your oyster........

I get my kicks above the waistline, sunshine!

Darren is leaving Maybe Happy Ending on August 31.

R97 since it's at the Wintergarden - we'll probably see the ghost of Grizabella.

Is this new production f CHESS known to be a full production and not just a concert?

Though IIRC the only number/scene that wasn't concert-like in the original Broadway production was One Night in Bangkok (was that the song title?), with lots of lascivious dancing and skimpy costumes.

At the Kennedy Center, this version of CHESS was what I would describe as a staged concert, but quite a fully staged one. If by "full production" you mean will there be more sets for Broadway, I have no idea, but given that the show has so many scenes in so many different locales, I'm guessing minimal sets and probably lots of projections.

R104: Little shit knows he has the Tony in the bag.

Tony roundtable. I can't wait until after Sunday when these people won't be in the news for a whole month.

I think Dead Outlaw might've benefited from a smaller venue like the Hayes.

John Proctor announed an extension "through Summer 2025" (vague) but Sadie Sink still leaving on July 13.

"New casting for the role of Shelby Holcomb will be announced next week."

I wonder how much SS was the draw? She certainly wasn't for me, but I'm not really the target audience.

The Queen of Versailles has a teaser out…

Sadie Sink looks gorgeous in the video portrait of her in the Times. It’s part of their yearly (since 2018) portrait session with all the Tony nominees..

The Queen of Versailles ad looks fun, much lighter and fizzier than I'd expected the show to be.

Definitely looks light on plot, r114.

Dead Outlaw has the word "dead" in it and Maybe Happy Ending has the words "maybe happy" in it.

Thank you for sharing, r116.

Hal Prince talked about WSS costumes in his book. He said he didn't understand why there was such a big budget for wardrobe when they could just as easily have used Levis and gotten them for free in exchange for a credit in the program. It was decided that when the costumes needed to be replaced, they would not be resewn but they would indeed be replaced with Levis. A few months after the opening, Prince wondered why the show didn't look as vibrant and beautiful and then realized that the switch from costumes to Levis was significant.

Incidentally, I don't understand why Irene Sharaff won Best Costume Oscars for THE KING AND I and WEST SIDE STORY.

All she did was rehash the same designs she'd used on Broadway for both.

Kiss of the Spiderwoman's first trailer. I... don't love it. Bill Condon is a moderately talented filmmaker whose track record and taste levels are... dynamic.

J-Lo just seems like J-Lo. But, I guess that's what they paid for. If they wanted a great actress they would have hired one.

Still... Kander must be chuffed. How nice that he's still with us to see this come to fruition. I never thought it would happen.

First of all, R119, it was still her work to begin with. Plus, I'm sure she modified at least some of the designs at least somewhat, and also, there were more costumes that needed to be designed for the film versions than for the Broadway shows. And finally, Sharaff obviously wasn't eligible for Academy Awards when her costumes were on Broadway, so why not for the movies?

Cecil Beaton created new costumes for the film version of "My Fair Lady."

Tom Felton comes to Broadway to play Draco Malfoy.

[quote]The Harry Potter alum is set to reprise his role as the complicated Slytherin Draco Malfoy as he makes his Broadway debut in the Tony Award-winning play Harry Potter and the Cursed Child later this year. The 37-year-old actor will replace current Draco performer Aaron Bartz as part of a 19-week limited engagement at the Lyric Theatre in New York City from Nov. 11 until March 22.

Cecil Beaton had Audrey Hepburn for inspiration, not that tawdry guttersnipe Julie Andrews.

r119, you probably don't think Anne Bancroft deserved her Oscar for The Miracle Worker either, do you?

Come sit by me.

will this be good?

Does anyone know why the 2017 revival of 'Sunset Blvd.' was completely ignored at the Tonys that year ? I understand Glenn Close not being eligible, but the show itself ? The director ? Michael Xavier ?

No.

Next…

[QUOTE] Does anyone know why the 2017 revival of 'Sunset Blvd.' was completely ignored at the Tonys that year ? I understand Glenn Close not being eligible, but the show itself ? The director ? Michael Xavier ?

It wasn't very good and the stripped down nature of it showed all it's flaws. Glenn was really showing her age.

R129 I'm surprised to read that. The revival got great reviews (from what I recall), and I enjoyed it very much. I know it had no chance against the revival of 'Hello Dolly', but I thought for sure it would grab some nominations. Do you know if it lost money or made money in it's limited 17 week run ?

It lost money. Sunset Boulevard always loses money. The current revival has no hope of recouping. I have friends who invested.

How George Clooney’s ‘Good Night, and Good Luck’ Is Preparing to Go Live on CNN:

Broadway’s Inaugural Group Marquee Dimming To Honor Gene Hackman, Linda Lavin, Helen Gallagher, Others:

The only person who ever made any money off of Sunset Blvd. was Patti LuPone.

[quote]you probably don't think Anne Bancroft deserved her Oscar for The Miracle Worker either, do you?

No, she didn't.

Not that she wasn't great, but Katharine Hepburn should have won that year for Long Day's Journey. Whereas Bancroft should have won in 1968 for Mrs Robinson when Hepburn won for Guess Who's Coming to Dinner?

Shoulda, coulda, woulda.

[quote]The quarterly dimmings will take place on the second Tuesday in September, December, March and June.

Since Lavin died on the last Sunday in December, 2024 , shouldn't the March dimming have been for her ? Why did they wait until June ? Something's not right.

I remember reading when 'Sunset' closed in March, 1997 it was said investors (including Barbara Walters) only earned 80% of their investment back. One investor spoke out and said that if ALW didn't have to pay Lupone the same weekly salary as he was paying Glenn Close each week during Close's run for those eight months, the musical would have made a healthy profit for investors (and would probably have run for at least another year or two). However, two leading lady salaries out of one box office - the show never recovered.

" As I mentioned earlier, Webber wanted to open multiple productions simultaneously - LuPone hadn’t even started rehearsals for the West End production when it was announced that Glenn Close would be playing Norma in L.A. Whether this was to build buzz, keep the show the “star,” and not one particular performer (as was the express goal of “Phantom”), or to hedge his bets and “audition” his casts on a global scale (or, likely, all of the above) we can’t know for sure, but regardless, LuPone wasn’t super comfortable with this set up – feeling, rightly, that it created competition between productions, and diluted who was, officially, the original cast.

And that’s not to mention the fact that some people didn’t understand why LuPone wouldn’t be in the L.A. company, imagining it had something to do with her performance (in reality, it was a timing issue) with said speculation happening, again, before LuPone had even started rehearsals (and that was after months of drama in the press claiming that Meryl Steep and LuPone were having a cat fight over who would play Norma in London while LuPone was already deep into contract negotiations).

But Webber promised LuPone that, no matter what, she would be starring in the role on Broadway, not Close. She got an ironclad contract that said just that. Indeed, she refused to get on a plane to London without it.

LuPone was then treated horribly during the West End run. It came out later that Webber’s company was likely trying to make her life a living hell so that she would break her contract and leave the show. Regardless, LuPone went out on stage and did her job every night.

The rumors were that Close was a bigger “name” and that LuPone didn’t get the reviews Lloyd Webber wanted (he made the same case against the West End cast of “Bad Cinderella” – blaming them for the show’s poor reviews, which he then went on to receive again with the brand new Broadway cast). "

I have little love for Andrew Lloyd Webber or his work, but it seemed clear at the time that LuPone was ridiculously miscast. He believed Close was better for the show, and he paid for that. Thirty years later and Patti still can’t accept she was totally wrong for the role.

[quote]The rumors were that Close was a bigger “name"

Indeed, Glenn Close was a bigger name than Patti LuPone.

By 1994, Close had already won 2 Tonys ("The Real Thing," "Death and the Maiden") and had 5 Oscar nominations ("The World According to Garp," "The Big Chill," "The Natural," "Fatal Attraction," "Dangerous Liaisons").

At the time, LuPone had recently starred on the TV series "Life Goes On" (1989-1993) but that show wasn't really a ratings winner, only averaging around #69 during all four seasons.

The only time it really garnered national attention was when Chad Lowe was brought in towards the end as an AIDS patient (which was still pretty daring and taboo at the time) and won an Emmy for his performance.

Encores was supposed to have announced their 2026 shows yesterday. I wonder if they’re having a hard time lining up performers.

I wish OPs would go back to using quotation marks around the thread title. It took me several viewings to understand that the title of the thread is "Audra Doesn't Know Her." I kept trying to figure out what Audra's edition is, and why she doesn't know it.

[quote] Why did they wait until June ? Something's not right.

Are you accusing me of an irregularity? Every husband livestreams his feelings, right?

R139 nails it. Debates over ALW's level of talent aside, I think there can be little doubt at this point that he's one of the most despicable people ever to work in theater on Broadway or in London. Yes somehow, he STILL has fans who will defend him to the death. Inexplicable.

[quote]Since Lavin died on the last Sunday in December, 2024 , shouldn't the March dimming have been for her ? Why did they wait until June ? Something's not right.

I guess you missed it, but there was a previous dimming of the lights of one Broadway theater, the Broadhurst, in commemoration of Lavin's passing. But that was arranged separately, so it seems the League wanted to include her in this upcoming group also.

Zero reaction to the Kiss of the Spiderwoman trailer. That's actually very telling. I feel the same way.

Actually, R147, I've heard and read very positive reactions to the SPIDER WOMAN trailer, and the buzz on the movie that I've heard is very good.

R147 it’s too late. They should have made the movie in 1998 with Vanessa Williams.

That’s the problem with all of these. They wait too long.

Gypsy should have been done in 2000 with Barbra Streisand.

And let's face it. SPIDER WOMAN is not first rate K&E.

R149, the CHICAGO movie was made many, many years after the Broadway production closed, and for that matter, many years after the revival opened, but that didn't seem to be a problem in terms of reviews and box-office success for that movie. So be careful with your generalizations.

Oh, and P.S., the original film of GYPSY was released in 1962, not long after the show closed on Broadway. So your comment about that is bizarre.

Jlo sounds so... bland in that trailer.

And her wigwerks are 😵‍💫

[quote]Jlo sounds so... bland in that trailer.

Not any blander than Madonna in Evita.

Who wigged better?

Some on here bray about how Audra didn’t deserve each of her Tonys—-but no one ever gets specific

So, which Tony didn’t she deserve and who should have won instead?

[Quote] Who wigged better?

Lea Michele has chimed in

Give it up—👽

TIA

I detest Kiss of the Spiderwoman musical—but I’m excited to see the movie

[quote] Lea Michele has chimed in

Shitwigler!

I'd almost forgotten about the Widow Monteith and her wig issues.

[quote]Not any blander than Madonna in Evita.

True, R154. And I'm a Madonna fan. I do think Madge did much better in Dick Tracy. Well, she's still a lousy actress, but musically/vocally, she did surprisingly well with the Sondheim and Patrick Leonard songs on the soundtrack. She's often talked about her love of Golden age musical theatre and musical films and I think that appreciation paid off there. Sooner or Later always gets trotted out, but I think it's her performance of Sondheim's 'More' that's especially good. She just really gets that wry, dry rat-a-tat-tat thing he was going for there.

[quote]Some on here bray about how Audra didn’t deserve each of her Tonys—-but no one ever gets specific. So, which Tony didn’t she deserve and who should have won instead?

What "some people" say is that she didn't deserve ALL of her Tonys, which is very different from the way you phrased it. I would say she didn't deserve the award for MASTER CLASS (because it wasn't much of a role, and was poorly written) and probably also not for PORGY AND BESS (because her performance and the entire production were so wrong-headed, plus she was frequently absent). It's true that the competition was not very strong in the P&B year, but I think the award should have gone to Jan Maxwell.

No one was actually looking for a reply R162

I mean, when you already have 6 Tonys and have won every acting category, does it really matter if you win again? I doubt it.

R164. No but it matters to the production that's hoping to hang on at least through summer.

Why do you say that, R165? Do you seriously think there's anyone out there saying to themselves, "Gee, I'm a huge fan of Audra McDonald and I know she has already won six Tony Awards, but I really want to wait to see if she wins her seventh Tony for GYPSY before deciding that I want to buy a ticket for the show?"

Of course not. If any Tony award will make any difference at all for GYPSY at the box office, it's the one for Best Revival.

One of the most annoying of the Usual Suspects at a certain theater chat board is bitching about DEAD OUTLAW's "baffling" Tony nominations, and saying that show's nom for Best Musical should have gone to JUST IN TIME instead. This person might consider the fact that OUTLAW has a highly praised original score surely has a lot to do with it, but I guess his priorities are elsewhere.

I would say Audra also didn't deserve her Tony for A Raisin in the Sun. A fine performance but nothing special.

And considering neither Brian Stokes Mitchell nor Marin Mazzie won Tonys for Ragtime, I'll even question Audra's win for that one.

In these years was the competition weak in her categories?

So is Lady Day the only one that is unanimously proclaimed to be deserved?

Except that she should have been in the Best Actress in a Musical that year.

For R168

1994: When Audra won Featured Actress in a Musical for CAROUSEL, the other nominees were Marcia Lewis in GREASE, Sally Mayes in SHE LOVES ME, and Marin Mazzie in PASSION.

1996: When Audra won Featured Actress in a Play for MASTER CLASS, the other nominees were Viola Davis in SEVEN GUITARS, Michele Shay in SEVEN GUITARS, and Lois Smith in BURIED CHILD.

1998: When Audra won Featured Actress in a Musical for RAGTIME, the other nominees were Anna Kendrick in HIGH SOCIETY, Tsidii Le Loka in THE LION KING, and Mary Louise Wilson in CABARET.

2004: When Audra won Featured Actress in a Play for A RAISIN IN THE SUN, the other nominees were Essie Davis in JUMPERS, Sanaa Lathan in A RAISIN IN THE SUN, Margo Martindale in CAT ON A HOT TIN ROOF, and Daphne Rubin-Vega in ANNA IN THE TROPICS.

2012: When Audra won Lead Actress in a Musical for PORGY AND BESS, the other nominees were Jan Maxwell in FOLLIES, Cristin Milioti in ONCE, Kelli O'Hara in NICE WORK IF YOU CAN GET IT, and Laura Osnes in BONNIE & CLYDE.

2014: When Audra won Lead Actress in a Play for LADY DAY AT EMERSON'S BAR AND GRILL, the other nominees were Tyne Daly in MOTHERS AND SONS, Cherry Jones in THE GLASS MENAGERIE, Estelle Parsons in THE VELOCITY OF AUTUMN, and LaTanya Richardson in A RAISIN IN THE SUN.

Thanks for the rundown, R171. Makes it much simpler for people to make their own judgments.

It also shows r168’s ignorance, since Audra didn’t compete against Mazzie or Stokes. Against the competition she actually had, she definitely deserved it. But I have seen Mothers and Coalhouses that erased the original performances, but I’ve never seen a smarter take on Sarah or a better singer.

Stokes was the favorite, until people saw Cabaret. Alan Cumming won that award by the end of Willkommen

Not really ignorance, R173. I'm sure R168's point was that Stokes and Marin Mazzie both deserved to win Tonys for their performances in RAGTIME more than Audra did for hers. But of course, it doesn't work that way, it all depends on who the competition is in a particular category.

That said, I personally think Stokes deserved the Tony for RAGTIME over Cumming for CABARET, whose performance was emblematic of a production that was the first huge step in the vulgarization and wild misinterpretation of one of the greatest musicals ever written.

It looks like Jamie Lloyd is going to pull a similar outdoor video stunt with his upcoming production of Evita in London. The rumor is Rachel Zegler will actually perform part of “Don’t Cry For Me, Argentina” on a makeshift balcony on an outdoor facade of the London Palladium.

I’m sure it will go swimmingly.

R175, assuming you're serious, that will only work if they can figure out a way for Zegler to perform at least part of the number onstage in the theater.

THIS DAY IN BROADWAY HISTORY: In 1979, "Loose Ends" opened at the Circle in the Square Theatre.

Off Broadway Hit ‘Kowalski’ Aims For Broadway Transfer:

Deadline's Tony predictions:

It's interesting that most places are saying it will be a Groff repeat but I thought Darren Criss was the shoe in

R180, I really think it could easily go either way, and I wouldn't be surprised if the voting is VERY close -- though, of course, we'll never know. Will be very interesting to see what happens.

Not one post about the "Wicked For Good" trailer on All That Chat. How bizarre.

R178-Let's hope they replace that lousy actor who played Tennessee. He was fucking awful.

[quote]It's interesting that most places are saying it will be a Groff repeat but I thought Darren Criss was the shoe in

Oh, dear.

Audra was a breath of fresh air in Carousel. From The second she sang her first note, the entire audience sat up straight in wonder. She was also incredible in Porgy and Bess, beautifully etching a deep, anguished character.

Her Rose, however, is monumental. The greatest version of the greatest female musical character I’ve ever seen. Most feel she deserves the Tony—The only conversation is about if she should get yet another Tony, not if her performance is worthy.

[Quote] That said, I personally think Stokes deserved the Tony for RAGTIME over Cumming for CABARET, whose performance was emblematic of a production that was the first huge step in the vulgarization and wild misinterpretation of one of the greatest musicals ever written.

That’s just how influential Cumming’s performance was. Everyone since tries to outdo him

R171, thank you for listing Audra’s nominations and her competition.

Seeing that, she was the only real choice in every circumstance.

The performance that is still embedded in my brain was 110 in the Shade. Decades later, I still feel her performance. She did not win that year although she was the main competition.

[Quote] And considering neither Brian Stokes Mitchell nor Marin Mazzie won Tonys for Ragtime, I'll even question Audra's win for that one.

Did you see her Ragtime. Incredible. Her extraordinary voice alone was good enough but the anguish was palpable

[Quote] PORGY AND BESS (because her performance and the entire production were so wrong-headed, plus she was frequently absent

Bull shit. She was not frequently absent. She was absent for a short stretch because she was sick. I had to change my ticket but I don’t recall any absences after that

[Quote] Do you seriously think there's anyone out there saying to themselves, "Gee, I'm a huge fan of Audra McDonald and I know she has already won six Tony Awards, but I really want to wait to see if she wins her seventh Tony for GYPSY before deciding that I want to buy a ticket for the show?"

Tourists are coming in and out of NYC all summer. They don’t know Audra from Adam. They will see “Best Actress Tony” on the Marquee and let it guide them

[quote]She was not frequently absent. She was absent for a short stretch because she was sick. I had to change my ticket but I don’t recall any absences after that.

Audra missed several performances of PORGY AND BESS before the Tonys, and as soon as she won the Tony, an alternate was officially announced.

Patti Lupone isn't a star because no one outside of New York knows who she is.

[quote]Tourists are coming in and out of NYC all summer. They don’t know Audra from Adam. They will see “Best Actress Tony” on the Marquee and let it guide them

You may think so, but the general belief is that the only Tony Award that really matters at the box office is for Best Musical, followed distantly by Best Revival. And that would be especially true among tourists who, as you say, don't know Audra from Adam.

R187, you are not alone in your admiration of Audra as Lizzie. That role is one of the most demanding, and she nailed it. Even though her father died in a plane crash during the run. Steve Kazee was not a great Starbuck, in no way a match for Lizzie, which also lessened the impact.

What she did with Sarah was remarkable. She created a full character out of very little, an open wound who was damaged except when she sang. I still remember her furiously knitting on the stairs during New Music, trying to distract herself from giving in to Coalhouse.

Just my opinion but I think Lois Smith in Buried Child far more deserved the Tony over Audra in Master Class.

And I think Margo Martindale in Cat on a Hot Tin Roof deserved the Tony over Audra in A Raisin in the Sun.

For that matter, I think even Sanaa Lathan in Raisin deserved the Tony over Audra in the same production.

The idea of Anna Kendrick as Tracy Lord in “High Society” makes me want to throw up, And she actually got a Tony nomination?

And it’s “shoo-in” not “shoe-in.”

“Kowalski” sounds like fun. Is Brando depicted as an omnisexual who lets Tennessee suck his cock to cinch the part?

I didn’t think so. Maybe better to bring in “The Motive and the Cue.”

R197, spare us your vomit and do a modicum of research. Kendrick played Dinah. Melissa Errico played Tracy. What kind of sloppy homosexual are you?

Bless your heart, r197.

[Quote] Audra missed several performances of PORGY AND BESS before the Tonys, and as soon as she won the Tony, an alternate was officially announced.

Around the Tonys, the understudy officially did Weds performances. Afterwards, the understudy took over. When someone is officially replacing, the performances aren’t considered “absences.”

[quote]Just my opinion but I think Lois Smith in Buried Child far more deserved the Tony over Audra in Master Class. And I think Margo Martindale in Cat on a Hot Tin Roof deserved the Tony over Audra in A Raisin in the Sun.

Agreed on both counts. Nice to see some people here have the courage and good taste to argue with those who INSIST that Audra unquestionably deserved all of her six Tonys, and who would make the ridiculous and disrespectful assertion that she was "the only real choice in every circumstance."

[Quote] Agreed on both counts. Nice to see some people here have the courage and good taste to argue with those who INSIST that Audra unquestionably deserved all of her six Tonys

Just wondering if there’s any other actor where you wonder, “She didn’t deserve her Tony” or just for Audra?

People vote and the winner gets the Tony. It’s bullshit to say someone didn’t deserve it or another actor was better. The majority felt the winner deserved the Tony, no matter what criteria each used.

[quote]Around the Tonys, the understudy officially did Weds performances.

"Around" the Tonys? Or after the Tonys?

[quote]When someone is officially replacing, the performances aren’t considered “absences.”

Correct, it's only unscheduled missed performances that are considered absences, and Audra had several absences from P&B before the Tonys. I don't remember how many, but I do remember it was reported somewhere that she had asked for an alternate when the show moved to Broadway from A.R.T., which is an entirely reasonable request for a role such as Bess. But that request was denied by the producers, so she officially signed on for eight a week even though she herself apparently knew she couldn't keep to that schedule, and should never have been expected to.

If Audra doesn’t get the Tony for Rose, I will say it’s because voters felt she had too many already. But, if you’re voting for quality of work, this Rose is a phenomenon that I will remember forever.

[quote]Just wondering if there’s any other actor where you wonder, “She didn’t deserve her Tony” or just for Audra?

Of course, there have been several over the years, and of course, not all of them have been women. But Audra is the one who's currently in the news, for obvious reasons.

[Quote] "Around" the Tonys? Or after the Tonys?

Weds evening performances were given to the understudy starting June 12. Audra has vocal inflammation. Why are you blaming her for being somehow unprofessional when bowing out of 8 performances a week is exactly the professional thing to do under the circumstances

[Quote] Of course, there have been several over the years, and of course, not all of them have been women.

So, name some other “undeserving” Tony winners

Here's a couple:

"Oslo" winning best play in 2017 was ludicrous. Though, not as terrible as "The Lehmann Trilogy" winning in 2022.

Andrew Garfield winning for "Angels in America".

Another: the truly ghastly Pauline Collins winning for the even more ghastly "Shirley Valentine".

Shudders.

Ralph Fiennes "Hamlet" in 95.

It was a boring production.

Neil Patrick Harris as "Hedwig".

Hammy and gimmicky.

Two Gentlemen of Verona over......oh, never mind.

[quote]"Kowalski" imagines the first meeting of Tennessee Williams and Marlon Brando.

R178 So, it's all made up?

Well then why do you pay attention to the Tonys at all? Why not start your own YouTube channel and give out your own awards?

It’s not just “does Audra deserve another Tony”? It also feels like she’s competing against all the other actresses who have played Rose as well.

And Ethel Merman.

Bette Midler winning for Lead Actress in a Musical in 2017. Eva Noblezada was robbed.

Here's a couple of ghastly future wins:

Cole Escola for Best Actor in a Play.

Darren Criss for Best Actor in a Musical. I've seen better robotic acting on an average episode of Black Mirror.

I do notice that Avenue Q is not still making over $2 million a week on Broadway. Popularity does not always equate to quality (looking at you, ALW), but in this case the Tony voters should definitely have listened to Galinda.

(I'm not Stephen Schwartz. He's too rich to care any more.)

R219, I'd say Eva was even more robbed in 2019, when she lost for Hadestown to Stephanie J. Block in The Cher Show.

R202, could you point to someone who actually INSISTS that Audra unquestionably deserves all of her sux Tonys? I have defended some of her performances on this thread, but certainly won’t argue about performances I didn’t see. Why the strawman?

[quote] One of the most annoying of the Usual Suspects at a certain theater chat board is bitching about DEAD OUTLAW's "baffling" Tony nominations, and saying that show's nom for Best Musical should have gone to JUST IN TIME instead. This person might consider the fact that OUTLAW has a highly praised original score surely has a lot to do with it, but I guess his priorities are elsewhere.

He'd be singing a different tune if Dead Outlaw featured an actor he salivates over. If it doesn't star a cute, non-threatening white boy, an Asian actor, or someone with a connection to his beloved musical trio of mediocrities, Memphis, Newsies, and Bonnie and Clyde, he's not interested.

R222, could you provide some reasoning? That was a rare year where I saw all five nominees, and Noblezada would be my fourth or maybe fifth choice. Block annoys me with her overwrought choices, and Cher Show was terrible, but her performance showed a lot of range and skill. Beth Leavel managed to make extreme hamminess endearing. But the obvious reason that Block won in a very strong year is recognition of her career achievements.

In my view, Noblezada didn’t bring anything unique to Eurydice and repressed her own qualities for a generic ingenue role. Although I remember her very energetic walk on that turntable.

[quotes]He'd be singing a different tune if Dead Outlaw featured an actor he salivates over. If it doesn't star a cute, non-threatening white boy, an Asian actor, or someone with a connection to his beloved musical trio of mediocrities, Memphis, Newsies, and Bonnie and Clyde, he's not interested.

I know, R224. I almost added the same comments to my post, so thank you for bringing them in. Evidently, the person in question doesn't salivate over or get a hard-on for Andrew Durand, which I'm sure explains his outright dismissal of that entire production. Sad.

[R202], could you point to someone who actually INSISTS that Audra unquestionably deserves all of her six Tonys? I have defended some of her performances on this thread, but certainly won’t argue about performances I didn’t see. Why the strawman?

Your wish is granted! R171 wrote:

[quote]Thank you for listing Audra’s nominations and her competition. Seeing that, she was the only real choice in every circumstance.

So, are we good now?

For what it's worth (probably not much), I was listening to NPR (Boston) on the way to work yesterday. They were covering the Tony predictions with a theater critic who has predicted many Tony wins over the past 12 years on the show (don't recall his name).

When it came down to 'best actress in a musical', he said it was a toss up between Audra and Nicole, but he believes Nicole will grab the Tony. He said it has nothing to do with Audra's collection of Tonys, he just believes Audra's performance is what theater goers expected from her to play the character of 'Rose', and Nicole's was quite different from what we've seen before as 'Norma Desmond'.

Best Musical is going to 'Dead Outlaw', according to him. 'Sunset Blvd' should take 'best revival'. Darren Criss will grab the Tony for Best Actor in a musical.

By then, I reached my destination and had to get out of the car, so I have no idea what his predictions were for best play, best dramatic actress, etc.

Sorry, that should have been:

[quote][R202], could you point to someone who actually INSISTS that Audra unquestionably deserves all of her six Tonys? I have defended some of her performances on this thread, but certainly won’t argue about performances I didn’t see.

Your wish is granted! [R171] wrote:

[quote]Thank you for listing Audra’s nominations and her competition. Seeing that, she was the only real choice in every circumstance.

So, are we good now?

[quote]Best Musical is going to 'Dead Outlaw', according to him.

I think he's dead wrong -- sorry :-) -- on that one. Everyone I've spoken to and everything I've read has said MAYBE HAPPY ENDING.

That’s hardly seems insisting to me, but maybe it seems that way to someone who resents her wins. Is there someone else you think deserves six Tonys, or is just particular wins that you question.

I’ve seen a lot of theater over multiple decades. I don’t know anyone who has shown as much skill and talent and intelligence and discipline. And is down to earth about it all. And sings beautifully.

[Quote] he just believes Audra's performance is what theater goers expected from her to play the character of 'Rose', and Nicole's was quite different from what we've seen before as 'Norma Desmond'.

Um, except Audra’s performance is nothing like anyone expected, which is why we’re talking about it constantly. No one is talking about Nicole’s Norma. Yes, it was audacious but so what?

Yes, I think MAYBE HAPPY ENDING is pretty much a lock.

Looking at the list of Audra wins and who she was to against, I’m more convinced now that she deserved each of her Tonys.

It ridiculous to wave some off by saying, “the part wasn’t written well.”

The most common term I have heard to describe Nicole Scherzinger’s Norma is “iconic,” which I think pinpoints the difference between her and McDonald. Nicole is about posing, which thrills some people. She holds long notes for the effect rather than because the character or plot demand it. Audra does the exact opposite, consistently choosing the character’s trajectory over sound. Other people find this approach far more thrilling.

Cole Escola has a face...for radio.

R236 video killed the radio star!

R235, beautiful summary of their differences.

Saw SMASH last night. Our Miss Brooks took the night off and was sorely missed, even if I'm sure his performance is as predictable as the sunrise. The rest of the show is a mess and I am as perplexed as ever by Jesse Green's rave. (And I declare a tie for the How the Mighty Have Fallen award to Kristine Nielsen and Faith Prince.)

MIA for today's matinee: Simard, Hilty and Audra.

R239. Brooks has been out for the past few days. I think he's back today.

R240 they have to be fresh for the Tonys!! They will of course show up for that

Update: Audra out this afternoon and tomorrow's matinee.

TONY prep

I feel bad for ticket holders

I thought Tyne deserved it for Mothers and Sons. People were sobbing in the audience over the mothers heartbreak. Daly killed it with her monologues.

Audra was doing an impression of Billie Holliday. I would have loved to have seen the originator, Lonette McKee in the show.

I've never gotten the love for Kristine Nielsen who to me is just a bag of tics and double/triple takes.

[Quote] I would have loved to have seen the originator, Lonette McKee in the show.

You’d be the only one in the audience.

[Quote] Audra was doing an impression of Billie Holliday.

What made Audra’s characterization amazing is she wasn’t just doing an impression. We felt everything Billie was going through—all the emotions and turmoil

Audra's interpretations of Billie's songs were fussy. She would have been better served doing something more straightforward. She tried too hard getting the essence of Billie, that she lost the cut of the jib of her and of those songs.

She should have been nominated in the musical category instead of play anyway. It was kind of category fraud.

[quote]It ridiculous to wave some off by saying, “the part wasn’t written well.”

Why ridiculous? I think a great actor in a great part is probably going to give a more Tony worthy performance that a great actor in a poorly written, role, which Audra's in MASTER CLASS definitely was, in my opinion. I'm sure we can all think of many, many more examples of this.

Audra’s role in Master Class was poorly written? In what way? Sharon has the fullest storyline of the three students and provides the challenge to Callas needed to make the show work at all.

Her performance told a story that was fuller than the lines in the script, which is the whole point of live theater. I’ve seen several other productions of the show, and the other actresses missed the subtext McDonald found: her insecurity at battle with her anger and her talent. They just did the lines and the singing, and the show suffered.

Should Gwen Verdon in Sweet Charity have gotten the Tony over Lansbury for Mame?

Audra-stans, like all theater "stans" are exhausting.

At least Audra is more talented than the truly banal Sutton Foster.

[quote]Should Gwen Verdon in Sweet Charity have gotten the Tony over Lansbury for Mame?

No.

Obviously, Streisand should have won over Channing.

Channing just mugged and croaked her way through the show.

And, lazy Streisand phoned in most of her performances.

[quote]Audra’s role in Master Class was poorly written? In what way? Sharon has the fullest storyline of the three students and provides the challenge to Callas needed to make the show work at all.

The show as a whole was poorly written and highly disrespectful of Maria Callas in that her master classes were entirely serious affairs, absolutely nothing like the silly camp fest McNally served up. And as for Audra's role, there is no circumstance in human existence when a young singer in a master class would publicly start berating and insulting the world-famous-legend teacher on stage during the class, with an audience present.

I hope that's enough for you.

[quote]Obviously, Streisand should have won over Channing. Channing just mugged and croaked her way through the show.

But Streisand already had a reputation for walking-through performances of her starring role in a Broadway show, and Broadway don't go for that. Whereas no one ever accused Channing of walking through anything :-)

I know my gay card will be revoked for this, and I’m glad he had a street named after him and all, but Terrence McNally has been grossly overrated as a playwright and I don’t think his work dates well.

I saw the recentish Audra McDonald-Michael Shannon production of “Frankie and Johnny,” and boy was it flat and dated. McNally should himself have trimmed the show to a one-act, but the original two act back-and-forth was interminable, despite the heartfelt performances of the stars. And it was moving when McNally came out for his opening night bow, oxygen tank in tow. But boy that play bores as anything but a sketch or audition piece.

Channing was brilliant in the original HELLO DOLLY, one of the great performances.

[quote]Terrence McNally has been grossly overrated as a playwright and I don’t think his work dates well.

I agree with you about almost all of his plays, but his books for musicals are generally pretty great. To me, there's such a difference in quality between the two that it's almost as if two different people wrote them.

Your disdain for Frankie & Johnny might be because you saw it with those two actors...

is there a list of who is performing what on the tonys tomrrow?

[Quote] Why ridiculous? I think a great actor in a great part is probably going to give a more Tony worthy performance that a great actor in a poorly written, role, which Audra's in MASTER CLASS definitely was, in my opinion. I'm sure we can all think of many, many more examples of this.

Audra was great in that part— also she had to sing two Verdi arias.

If the part was poorly written, that just shows how great an actress Audra is—shaping a great performance from a supposedly poorly written part

But, in my opinion, her acting was not great in MASTER CLASS. Not her fault, but because her role was written in a way that made zero sense for the way someone would behave when taking part in a public master class. Some of you people who post here seem to think that any onstage display of a big emotion like extreme anger, emotional breakdown, etc. is by definition "great acting," no matter how little sense it makes.

One usually recognizes that a playwright takes license for dramatic effect, r266.

Please. Audra McDonald has always been extremely good at plotting a logical path to the big emotions she is often asked to act.

In Master Class, her character is unstable and leaves the class initially. You could see her fighting that while she sang the arias, even when it was going well and Callas encouraged her. When Callas then eviscerated her by telling her she has limited talent, it made absolute sense for Sharon to lash out.

I don’t think it’s a great play, but I’ve enjoyed it several times for what it is. But if you think “Audra-stans” are exhausting? Just say something critical about Maria Callas.

And also (I know, I know), I have actually seen people lash out far worse in performance classes. Being criticized publicly is not for everyone.

Dramatic license is a great and well-respected thing, but sometimes it can go to far, especially when one is portraying something based closely on real-life events. Just my opinion. And I just don't agree that any master class student would ever, under any circumstances, lash out at a master teacher in public. Unless, I suppose, she was completely mentally ill and shouldn't have been there in the first place.

Andrew was out at yesterday's and this afternoon's performances of Dead Outlaw. The understudy couldn't sing for shit.

"Master Class" is quite obviously not meant to be a realistic or documentary-like depiction of the actual Callas master classes.

[quote]especially when one is portraying something based closely on real-life events.

That's exactly where one takes dramatic license, r270.

Should Lauren Bacall have won for Applause over Hepburn in Coco?

They're both non-singers, so it must have been a close call for voters.

Well, r274, Margo was certainly the more strenuous role.

And Lauren had to put up with Bonnie Franklin.

For those interested, Clooney starts in two minutes on CNN.

Jeremy Jordan and Nicole both out tonite. Wtf. It's the night before the Tony's!

and? votes are already in!!!

Nicole S out of Sunset tonight

Clooney looks and sounds so diminished on TV now. Where's Murrow's vigor??

If Ronstadt showed up for the Tony nominations, she might have beaten Bacall for Pirates of Penzance.

[quote]she might have beaten Bacall for Pirates of Penzance

But Bacall was so good in Pirates of Penzance!

Why would Linda have to show up for the nominations? Aren't they usually announced in a press conference? I don't ever recall nominees having to be there.

I saw Glengarry Glen Ross. It deserved all its snubs. In a nutshell, it’s a bunch of desperate salesman talking all over one another. Every other word is fuck this and fuck that.

Culkin is so incredibly overrated. All he does is play himself or Roman Roy or a mix of both.

This was not the ideal production of GLENGARRY, but it's a brilliant play. Culkin overrated and a failure here, check. Odenkirk and Burr, very fine. If you don't like Mamet, well then.

Mamet is a bitch

So who will “get political” tomorrow night and bring up the National Guard in LA? And can De Niro show up again to say “Fuck Trump” and CBS won’t bleep it this time?

“ and CBS won’t bleep it this time”

DeNiro is nothing and I’ll shit my cancer in his mouth before that’ll air

I'm just dreading the earnest, veiled "theatre is for everyone" statement Cynthia will be obligated to make as a response-rebuke to the Patti controversy.

Clink...

You all need to get some eyes. Andrew Durand is not cute and not a good singer.

Elsewhere on DL they’re saying [italic]Salò, or the 120 Days of Sodom[/italic] is going to be musicalized next season (!!)

Is that true??

[quote]"Master Class" is quite obviously not meant to be a realistic or documentary-like depiction of the actual Callas master classes.

I understand that, but to portray Callas as a bitchy, campy diva in at least some moments of the play, when she was actually a paragon of professionalism during the master classes, is offensive in my opinion.

[Quote] Some of you people who post here seem to think that any onstage display of a big emotion like extreme anger, emotional breakdown, etc. is by definition "great acting," no matter how little sense it makes.

There wouldn’t be a play without this conflict, would there?

I believe Terrence McNally, as a young man, actually attended at least a couple of those master classes Callas gave. So perhaps there was some truth in his portrayal.

There was a pretty substantial rumor that Patti LuPone at Natasha Lyonne were taking over GGR when it closed as an all female production, directed by Amy Morton.

Then LuPone torched herself on Broadway….so I’m guessing that got canned?

I hope it got canned instead for being a totally stupid idea.

Friends going to see "Sunset" matinee, so far Nic is in.

The 1970 Tonys had Hepburn vs Bacall, and Streisand winning Star of the Decade. What star power!!

Who will win "Star of the Decade" tonight?

Is there going to be a separate OFFICIAL 2025 Tony Awards thread, or is THEATRE GOSSIP #592 going to claim the rights to host the thread?

GGR?

GO GET RAILED, R303

r302 there is generally a separate Tony thread - well, generally speaking any of the major award ceremonies get their own threads.

The Tony thread...

“Major” does all the heavy lifting there…

I'm assuming that most of the shows with nominations are dark on Tony Sunday.

You are making an assumption that could easily be (in)validated in less time than it took to post on Datalounge, r308.

R309 Yes, but that takes effort. And, I prefer to keep the conversation going.

That's actually a pretty awful schedule for people in nominated musicals. Up very early to get to Radio City for dress rehearsal, then run back to the home theater to do a show, then, get out of costumes/show make up to slap on Red Carpet looks to go to the Tonys, then at some point throw on their costumes/make up to do their number, then BACK into the tux/evening gown.

No wonder these people are all on booze and dope.

Audra took off this afternoon.

R312 That news is as shocking as Elon announcing Trump is in the Epstein Report.

[quote]Audra took off this afternoon.

Stop the presses.

If she doesn't win, she'll take the week off.

[quote]Who will win "Star of the Decade" tonight?

Since the decade is only half over, I nominated Sara Porkalob.

[quote]Who will win "Star of the Decade" tonight?

Beanie Feldstein is the obvious choice.

I just noticed Nicole is scheduled to perform in Sunset this Tuesday night, anticipating her Tony win will get her a standing O by just entering.

R315: If she does wins, she'll take the week off.

Joy Woods and Chowsie are also out this afternoon. Today is a long day but, based on social media posts, the casts love rehearsing then doing a performance and then performing at the Tonys. It's a very exciting day. They can sleep tomorrow.

[quote]I believe Terrence McNally, as a young man, actually attended at least a couple of those master classes Callas gave. So perhaps there was some truth in his portrayal.

I know this to be a fact. Terrence spoke about it.

r320 Everyone knows Chowsie's a bitch.

Nicole!

I told you so.

Nothing that surprising at the Tonys.

I really didn't think Audra would win.

I'm glad Maybe Happy Ending did well and rather glad that Death Becomes Her didn't. I don't hate DBH, it just seems like yet another stupid "lets turn an old movie into a musical that isn't very good".

And, Purpose over Oh Mary was a good choice. IMO.

Fun to see all the DLrs here who have been saying for the past two weeks Audra was going to win are suddenly saying they never expected her to win. And they want us all to believe it !

"Purpose" could run a while. Where will it move to? The Longacre?

[quote]I believe Terrence McNally, as a young man, actually attended at least a couple of those master classes Callas gave. So perhaps there was some truth in his portrayal.

[quote]I know this to be a fact. Terrence spoke about it.

Actually, no. The success of MASTER CLASS was considerable enough that, shortly after the show opened, audio recordings of all of Callas's master classes were released as part of a 3-CD set, and those recordings prove that the classes were nothing like the bitchy camp fest McNally created.

I may have been one of those DLers who said Audra was sure to win but it wasn't because I felt she was deserving. Far from it. But I really believed she'd win just because she's Audra. And the Patti kerfuffle really seemed to clinch a win.

Glad to be proven wrong, in any case.

It seemed to me that Audra was mentioned only in passing in Patti LuPone's comments in that career-ending interview, so I find it hilarious that SO MANY people apparently think those comments somehow clinched another Tony win for Audra. What foolishness.

Did anyone notice that they lowered the key for Audra's ROSE'S TURN on the TONY's? We established in previous threads that the last two notes of "FOR ME!!!" were sung with "FOR" in her belt range and "ME" in her falsetto range. That's how she did it when I saw the show. On the TONY's, she belted both words. Much better.

But her overacting was just too much - Medea it ain't.

IMHO

Paul Tazewell winning an Oscar and a Tony in the same year.

Nothing. I mean, nothing. No amount of whinging on this thread could have prepared me for how shockingly bad Audra's performance was on the Tonys. I've been a fan of Audra's since I was in high school. I've loved her in theatre performances, in concert and even some of her film and TV work. That Rose's Turn was a disaster.

And don't come in here with that bullshit about how "you have to see it in context to get it", "it only works at the Majestic, it couldn't possibly work at Radio City or on TV" nonsense.

Bernadette gave us a SEARING, incredible Rose's Turn on the Tonys more than twenty years ago. And, although, of course, not the same song, Patti brought the house down with her Everything's Coming Up Roses on the Tonys, too.

If Maybe Happy Ending wins the Grammy for Cast Album, Darren Criss will just need an Oscar for his EGOT!!!

So, poor Audra's performance wasn't great but she also looked terrible. I mean, don't they have hair and make up people there to make sure her wig is on straight? They played her performance in tight closeups and that wig was

1) bad

2) askew

Yeah, I admire her willingness to be ugly on stage, but her styling in this production is so DEEPLY unflattering. Then, I see her on The View or Tony Roundtable interviews in recent weeks and think she's looking lovely there... surprised someone as successful as her wouldn't have better hair, costuming and styling at this stage. Nothing in the script suggests that Rose needs to look like she's on skid row.

It's not a question of character styling; it's a question of putting a wig on an actress so it doesn't look like it's about to fall off on live television. Sloppy work on someone's part.

And, the production should have paid for a better, TV camera wig for their leading lady. I mean, it's Audra McDonald and obviously she's going to be be doing promo work on TV in character at some point.

I hate it when you see stage performers on TV wearing stage wigs, with messy floppy lace fronts dangling. It doesn't read in most theaters but it certainly reads on camera and looks bad.

Master Class! I saw it on tour starring Miss Faye Dunaway.

Seven thirty and we were all still in the outer lobby. At 7:45 the doors to the inner lobby opened. Eight o'clock came and went. At 8:25 we were allowed to go into the theatre.

At 8:45 the pianist came out and sat down....he was looking at us and rolling his eyes. Dunaway came and gave a very good performance.

As we were leaving I asked one of the ushers what had happened. He said that Dunaway had fired her hairdresser in Cincinnati and forgot about it. They had to find someone to come in and do her hair or wig or whatever it was. She was on the local news the next day and said the delay was due to a spotlight issue.....LOL

R331 as has been already shown, ad nauseam in the Tony thread, that is 100% factually incorrect.

The assertion that it was the first time is what I meant. See other thread.^

Oh to be a fly on the wall at the after-party Audra attended. How many stans had to kiss her ass and tell her, "You were robbed!" , "You gave the performance of a lifetime!" , "You deserved the Tony - it's all Patti's fault!" while really thinking, "I guess she's not returning for the rest of the run."

I wonder if Montego Glover is nervous this morning. I hope the show runs long enough for her to cover Audra's vacation.

Some of you have some really ugly things going on inside.

[quote]Nothing. I mean, nothing. No amount of whinging on this thread could have prepared me for how shockingly bad Audra's performance was on the Tonys.

My reaction was the same, and I have always been a fan of Audra's. What surprised me the most was that she's a superb singer, and yet she ignored the musical elements of the number and overacted the dramatic moments.

If Audra skipped the matinee yesterday and disappointed her audience to save her energy for THAT then shame on her.

R333: I can’t believe I’m saying this but yeah…

In the real world, a cast album Grammy doesn’t count towards individual achievement. But then “EGOT” is made up bullshit. Why not the ESAGGGGOT?”

R332 I've long been a fan of hers - not a megafan, but I appreciate a lot of what she's done, I know she has a specific kind of voice, and......yes, hard agree. It was sad and hard to watch.

There's a balance to be struck between reinterpretation and total deconstruction and sadly, despite immensely talented people and THE finest musical ever written, that balance was not achieved.

Yeah, Nicole twerking as Norma Desmond totally struck that fine balance.

I will say she sang it better in the lower key. When I saw it, it fit badly in her voice and it sounded strained.

Keys to the Kingdom.

Greg Peck stands with Broadway’s best.

I though Audra overacted the role when i saw her several weeks ago. That performance was subtle and delicate compared to last night's.

I don't think Sunset will extend. Nicole got her Tony so she's done. Plus, sulky Tom Francis has movie work lined up and he would have to be replaced. But I do hope the box office heats up and it goes out with a bang.

Tom Francis is pretty but he appeared to be expressionless last night every time he was on camera.

So robotic....maybe HE should step into Maybe Happy Ending.

[quote]In the real world, a cast album Grammy doesn’t count towards individual achievement. But then “EGOT” is made up bullshit. Why not the ESAGGGGOT?”

What about SOAP OPERA DIGEST?

Has anyone won a ESAGGGGOT? Ever?

[QUOTE]Tom Francis is pretty but he appeared to be expressionless last night every time he was on camera.

Every time the camera hit him he wanted to bolt out of the theatre and into Shubert Alley.

The idea of the EGOT is ridiculous. It started as a 30 Rock joke because of Philip Michael Thomas's memoir where he said he desperately wanted to win it (he didn't win even a single one of them), and then it just took off as an actual thing instead of a joke.

Although several people have won it, I don't think anyone's won it in all the major competitive starring performing categories, which is what you think of when you hear the term. Everyone who has won it in performing actually has one of the awards in something that doesn't really count, like producing (as in the case of Jennifer Hudson) or in the spoken-word album (like Rita Moreno). Streisand has probably come the closest to winning it as being a genuine star performer, but even her Tony is really only honorary--it was not competitive.

The Jonathan Groff Wayne Newton evening is the one I'm looking forward to

R357. It pre-dates 30Tock—please…What “ruined” it was social mediocrity.

FWIW/-the DL hated Moreno is an actual EGOT

Living winners of the Triple Crown of Acting are Rita Moreno, Jeremy Irons, Vanessa Redgrave, Al Pacino, Geoffrey Rush, Ellen Burstyn, Helen Mirren, Frances McDormand, Jessica Lange, and Viola Davis.

R358

Audra was robbed.

There, I said it. Nicole won because she was second choice

[Quote] Tom Francis is pretty but he appeared to be expressionless last night every time he was on camera.

He’s expressionless during the show too. His role is a supporting character anyway

Audra reminded me of Forbidden Broadway’s Judi Dench parody “Isn’t it rich? Isn’t it queer? I sing Send in the Clowns like I’m King Lear.”

[quote]Nothing. I mean, nothing. No amount of whinging on this thread could have prepared me for how shockingly bad Audra's performance was on the Tonys. I've been a fan of Audra's since I was in high school. I've loved her in theatre performances, in concert and even some of her film and TV work. That Rose's Turn was a disaster.

Thank you. Even accounting for a very wide range of opinions and greatly different taste from one person to the next, It's totally beyond my comprehension how anyone could actually praise that performance. And yet it has been highly praised by many people I respect greatly. Impossible to explain.

KD Lang IS Wayne Newton!

[quote]I will say she sang it better in the lower key. When I saw it, it fit badly in her voice and it sounded strained.

I didn't notice that the key for "Rose's Turn" (or at least part of it) was lowered from where Audra normally performs it in the show. If that's true, I wonder what could possibly be the reason and justification behind that decision? If someone thought it sounded better in the lower key, why not just have her sing it there always? And on a related note, did you notice how weirdly Audra had to alter the vowel of the last word of the song in order to semi-belt it: "For MAAAAAAAAAYE?" Very weird.

Or maybe it didn’t happened as an intentional choice. Maybe it happened in the moment of a live performance?

Gish, gosh.

[quote] If that's true, I wonder what could possibly be the reason and justification behind that decision?

She lowered the key so she could belt out that last note instead of singing it in head voice, which she usually does.

[Quote] It's totally beyond my comprehension how anyone could actually praise that performance. And yet it has been highly praised by many people I respect greatly. Impossible to explain.

I thought it was great—because it’s what Bway should be—over the top and cathartic! Rose’s Turn makes little sense in its own, so Audra made it something interesting for TV audiences. It got you excited to see this character. Nicole, on the other hand, just sang a song—and held a note really long. There’s no sense of the show and Norma in that moment

It was a daffodil to the live audience

Audra did, indeed, give the audience something different. Now let's see how many of them buy tickets.

[quote] Rose’s Turn makes little sense in its own

You, r372, are retarded.

[quote]She lowered the key so she could belt out that last note instead of singing it in head voice, which she usually does.

Okay, but again, if that's the case, why doesn't she sing the song in that key when she performs it in the show? Also, as I noted, she needed to completely distort the vowel of the last word of the song in order to belt it, so maybe that wasn't the best choice. Who is "May," anyway? ("FOR MAY!!!)"

[quote]Or maybe it didn’t happened as an intentional choice. Maybe it happened in the moment of a live performance?

What are you referring to? If you mean the key change in "Rose's Turn," that's obviously not something that could happen "in the moment" without being planned.

Best and worst…

I still don’t understand how George C Wolfe thought it best to dress Audra in a wig from Party City!

The accent Audra affected was certainly.....a.....choice.

Is the Hamilton thing anywhere on YouTube or the like?

Yes. Everywhere. Where r u?

[quote]I still don’t understand how George C Wolfe thought it best to dress Audra in a wig from Party City!

I wish I could find my original "review" of Gypsy that I posted on DL after seeing one of the early previews. I said something about the costumes and the wigs making Rose look like an hunchebacked old lady, and that if they handed her a walker, she could have been one of the old ladies in THE PRODUCERS. I also mentioned that the show looked like a non-Equity touring production.

I put the blame squarely on the shoulders of director George Wolfe, who sat in the front of the house and did nothing to correct the many, many visual problems with the show.

We don’t wish that.

GTH, R384.

Couldn't agree with you more, Billy Boy, and I'm sure I agreed with you the first time you posted about the atrocious design elements, particularly the costumes and wigs. You'll not that none of the GYPSY designers were nominated last night.

R346 I don't know why a cast album Grammy wouldn't count towards an EGOT. The main singers, are the only ones allowed to be part of the citation, meaning the stars/leads of the show. Depending on the show, the leads would be singing on the majority of the tracks. In the case of Darren Criss, he's singing on most of the tracks of Maybe Happy Ending. Why is that much different than say Darren Criss singing on EVERY track on his own album? Because it's not 100% it shouldn't count? That's dumb.

"Rose's Turn" is actually a bit ridiculous because the entire show is ABOUT Rose! She's the main character. So, she's just had 2 and a half hours of "her" turn. The silly old bitch.

Of course, it's still a brilliant number.

If the actress performing it isn't having some kind of demonic fit.

Do the members of the cast get Grammys when the award goes to the cast recording? If so, then that OFFICIALLY counts as a Grammy win.

R385 great to hear? Thanks for your support

R389 GTH

R382 Last time I looked on YouTube it was 50+ clips of people talking about it but none of the performance itself. I'll try again.

R392: “ it was 50+ clips of people talking about it”

I wonder how many are reaction videos. Those are the worst things in the entire world. Worse, even then invading army of Mexicans trying to do the work that Americans won’t do in this country.

R389 The "soloists" or "principal vocalists" have only been awarded a Grammy since 2012. And, the producers of the album of course.

I don't know who gets to decide on who is qualified to be a principal. Some years, it's only 2 performers but pretty much everyone in "Hamilton" got listed and got a Grammy. It's where Groffsauce got his Grammy.

R393 A lot of it was just clickbait bullshit from channels wanting to boost their numbers.

I did finally see that CBS posted a clip. (Though the CBS clips cut out intros and applause.)

Audra has earned her legend status and she will remain a titanic talent, but this was just bad. I'm so fucking sick of the Audra defenders claiming that this was the best you could expect because Rose's Turn isn't meant to to be seen out of context.

If that's the case, how come Bernadette, who I love, but who is (let's be real.. not as strong an actor as Audra) was able to give us such an indelible Rose's Turn on the Tonys 20+ years ago? She ALSO performed an edited/shorter version. She ALSO performed it "out of context", but she gave a master class in performance... I felt like I was watching a three-act play in a short musical performance. Bernadette ALSO left everything on that stage, but she did it in service of the text and the character, not in service of indulging her or George C. Wolf's ego.

Yep.

I'd always figured that Audra was pretty chill about her career and legacy but...no. She wanted that 7th Tony. And, she fumbled. She overly campaigned. Doing Rose's Turn on the Tonys was a mistake. She should have played the diva with producers back in pre production and insisted she have a better look for the production.

Where was this campaign you speak of?!

Was Audra having mic issues on stage? Was there a sound issue?

For all the jokes about Patti Lu's enunciation issues.....Audra's enunciation through Rose's Turn was......intermittent, at best.

R400 The accent choice did not help.

R399 Are you blind, deaf and dumb? She was all over the place campaigning.

Her publicists got her on the cover of Time.

R400 the entire telecast was one extended mic problem—

Thoughts on Groff.

That's a VERY energetic performance to do 8 times a week. Lots of calories burned.

Yet, our Groffsauce is...a tad pudgy looking.

Is he eating Milky Ways as energy boosters during the show?

I get that some people don’t like it, but making Gypsy about race and success really worked for me. Rose favors the light skinned June because she has a better chance at passing. She replaces the black newsboys with white kids. When her daughter figures out how to code switch and succeeds socially, it leaves Rose out in the cold.

Yes, some of this is in the show regardless. But it also makes her a more tragic figure for audiences who are conscious of what it would mean to be a black Mama Rose.

Some people will recoil from this telling of Gypsy. It made me not just feel for Rose, but also understand her rage. On the other hand, Bernadette made me feel her pain and essential loneliness. I’d be happy to see either production again.

I'm sorry. But now we're whining about actors campaigning for awards. It's absolutely par for the course. And, frankly, would be irresponsible not to do. In fact, many of them will have it in their contracts that they're obligated to do all the PR during awards season... it's part of the job, it's free press, it sells (some) tickets. That's such a ridiculous criticism of Audra. And I say that as someone who LOATHES her Rose.

Yeah, there were mic issues throughout the night. The sound was actually terrible all night -- mics dropping, imbalanced sound mixes. Whoever was in charge of sound should be embarrassed.

R404 - Yeah, Groff has never been 10% body fat fitness model skinny, but I think that's always suited him well. He looks great with a little extra meat on the bones. I enjoyed his recent exploration of leather at Beyonce's show...

To every thing there is a season, and a time to every purpose under the heaven.

A time to weep (My apology),

and a time to laugh (SECONDHAND ROSE HAHAHAHAHAHA)

[quote]Bernadette, who I love, but who is (let's be real.. not as strong an actor as Audra)

I disagree, r396. They're both fine actors. Bernadette has a character look and a character sound. That limits her casting. Audra is more traditional in looks and sound so it widens her lane.

I'd love to see what Tommy Tune would have done with the washboards in that Pirates number. Something more clever than just have everyone stand in a row.

Speaking of mic issues, 90% of the Operation Mincemeat excerpt was incomprehensible.

And can we limit the number of producers/investors who can come up on stage to "accept" an award? I'd rule no more than five. That would easily cut 10 minutes of formally dressed sheep being herded on and off the stage.

Yes, that's somewhat fair. I think Bernadette is a more limited actress. When she's sensational (Sunday, Into the Woods, Gypsy) there is NO ONE like her. She'll always be one of my absolutely favs. I think Audra is also a better screen actress than Bernadette. It would be fascinating to learn more about the rehearsal process for this revival. How did Audra and Wolf get it SO wrong?

All this Gypsy talk got me thinking about Tyne Daly who has been MIA since she, sadly, had to drop out of Doubt. Anyone know how she's doing?

I've been wondering the same thing, r411.

Audra tends to favor hysterical performances.

Audra reminded me of Linda Lavin's portrayal. Audra has an amazing, rich tone that's suited more in an opera, lighthearted Broadway area. I would have loved to have seen her in Porgy and Bess. But it's all wrong for Gypsy. Rose's Turn is a breakdown that has perverse sexiness in seeing an older woman bump and grind who still has shades of desirability hidden between the aged features. Audra just method acted all over it and turned it into some borderline grotesque cry for help.

Moi? Best Actor?!

[quote]Our Groffsauce is...a tad pudgy looking.

Really? On the contrary, I think he looks like he has slimmed down considerably since this show began performances. I'm very surprised you feel the opposite.

Groff’s face is as long as his body.

We could have gotten a definite answer if Jonathan did the Speedo number last night.

Not sure how true this is BUT the news is that two shows shall be posting closing notices tomorrow:

BOOP! The Musical

Real Women Have Curves

The cast of both shows were reportedly told today. The 'source' who posted on social media is one of the ensemble players for one of the shows.

Again, don't know how true it is but tune in tomorrow as Tuesdays are usually the 'closing notices' days for most B'way productions. My thoughts and prayers go out to them.

The talk on Tyne was she could not learn the text.

[quote]R371 She lowered the key so she could belt out that last note instead of singing it in head voice, which she usually does.

[quote]R376 Okay, but again, if that's the case, why doesn't she sing the song in that key when she performs it in the show? Also, as I noted, she needed to completely distort the vowel of the last word of the song in order to belt it, so maybe that wasn't the best choice. Who is "May," anyway? ("FOR MAY!!!)"

Why don’t you send her a card at the Majestic Theater and ask her?

R419: I'm assuming both shows will be closing in two weeks or around July 1st? Did they say anything about Gypsy or Dead Outlaw?

Don't forget me!

R422 No - just Boop! and 'Women'. I'd guess they'd close around July 4 weekend, too. Someone on another forum said they heard they've already had an interested party for the theater Boop! is in, to open something in early fall. Not sure what it is.

R424: I believe it's Chess although I read elsewhere that it might be going to the Imperial considering Smash is widely thought to be on its way out as well.

SB was supposed to close on July 13, but now I see it extended to the 20th. Anyone know why ?

R425 Smash was never in.

One of the criteria Ken Mandelbaum used in selecting flops for Not Since Carrie included how long a show ran. If it lasted 250 performances or more, it was ineligible. Maybe Happy Ending will cross that threshold in about two weeks, with Death Becomes Her following them the week after.

Gypsy should close soon, because I'm still grieving that number on the Tonys last night.

R429. Lots of tickets available this week. It will be interesting to see if they close before or after Audra's vacation.

Wow… the klan grannies are really out for Audra!

Her performance on the Tonys last night was great. She acted the strips off that thing. Solid artistry, gutsy interpretation. Maybe it’s not the definitive Mama Rose, but it’s good. Bold. Committed.

What more do you really want?

R431 I'm curious - were you sniffing household cleaners from aerosol cans when you were watching her performance last night ? You know that's dangerous, right ? A fellow-Zoomer of yours died from that last week, so be careful !

[quote]Wow… the klan grannies are really out for Audra!

Tell yourself whatever you need to, r431.

[quote]SB was supposed to close on July 13, but now I see it extended to the 20th. Anyone know why ?

I don't understand your question, but the extension was announced before the show's Tony wins.

R 434 You don't understand the question of why it was extended ? Seriously ? It's pretty cut and dry. I didn't expect anyone to struggle with it.

Ah...if you don't like a performance by a performer who is black, that makes you racist...

Got it!

Good to know!

R435 - Why are you seeking some explanation on Sunset extending another week? I mean... it's obvious why they've extended, right? $$$$

Obviously, the producers wish to continue capitalizing on Nicole's success in the role. Presumably, either her schedule cleared up for that extra week when she previously had another job/obligation and/or they significantly sweetened the pot for her to extend one more week. I expect dynamic pricing will be especially high that final/extra week.

Cole couldn't resist! They're a riot. I wonder if word got back to Nicole?

[quote]R 434 You don't understand the question of why it was extended ? Seriously ? It's pretty cut and dry. I didn't expect anyone to struggle with it.

Are you joking, or just very dim? I (and the rest of the world) understand very well why SUNSET was extended, I just don't understand why you DON'T understand. Get it?

I saw the current production of GYPSY a week before it opened, and I was blown away by Audra's "Rose's Turn." It gave me chills, and I actually thought it was better than Lansbury's rendition, which I saw when I was a young gayling. Audra's performance on the Tony Awards was nothing like what I saw in the theater. It was overdone, off-pitch, oddly phrased and garish.

THIS DAY IN BROADWAY HISTORY: In 1976, “California Suite” opened at the Eugene O'Neill Theatre.

I would have loved to have been in Patti's living room, listening to her comments about the Tonys.

R442 You don't need to be in her living room.

[Quote] Audra's performance on the Tony Awards was nothing like what I saw in the theater. It was overdone, off-pitch, oddly phrased and garish.

The difference is that watching in the theatre, the audience is farther away. On TV, it looked somewhat over the top, which I loved by the way . It gave the show a boost—it was a bore before that

Billy Porter is Albin in next season’s La Cage Aux Folles at City Center!

How groundbreaking!

Grosses are out. Just fucking close already: Boop, Dead Outlaw, Gypsy, Real Women Have Curves, and Smash.

Gypsy is making more than Boop and Real Women Have Curves combined. You also don’t mention Cabaret, which is almost $400k lower than Gypsy. How strange.

Even Boop made more money than Dead Outlaw last week.

I hope they get Norm Lewis to play Georges in La Cage.

R450 he’s doing it the Muny in a few months if you are in St Louis region

Gypsy was at 67% capacity last week. It struggles to fill half of the Majestic most days. I don't see it becoming a major tourist attraction or improving during the summer. Audra's loss doesn't help its chances either.

Somebody on this thread or one of the Tony threads said that Boop! and Curves are going to announce their closings today. We'll see...

Gypsy’s big mistake was having Audra be the only star in the production.

She doesn’t sell tickets.

They needed a name Herbie and Louise.

Or her standby needed to be a better name.

Her vacation replacement needed to be a name.

So many missed opportunities.

So many wrong choices

Gypsy also picked the wrong sized theater. The Majestic is way too big for the 22nd revival of Gypsy with a lead that is beloved but isn't a box office name.

If they had a theater that was around 8k occupancy, it would be "selling out" which creates the word of mouth that it's a hot show.

It's just too big a show for a 1000-seat theatre. With a 25+ piece orchestra, a cast of 39, including kids, you need one of the traditional musical houses with over 1400 seats at least to even hope of running profitably. (Productions of Gypsy have played the Broadway, Imperial, Winter Garden, St. James (2x), Marquis, Shubert and now the Majestic). And I'm sure the lure of reopening the restored Majestic was too great a lure for the producers.

Then I guess they were stupid to hire an actress who isn't box office to lead their expensive show...

[quote]Somebody on this thread or one of the Tony threads said that Boop! and Curves are going to announce their closings today. We'll see...

That was me. I did clarify that I wasn't sure how true this was, as it's being said on different theater forums and was supposedly reported by a source who is part of one of the shows.

Today it was said the announcements would be coming 'this week', and the closing dates for both shows is June 29. They're also saying 'Smash' and 'Dead Outlaw' will also be posting closing notices, for July 3. Also, there are rumors Gypsy won't make it until the end of August, even though it currently has a closing date of mid-October (maybe the producers will take advantage of Audra's scheduled vacation and close early?) . By today's box office numbers, this news sounds more convincing.

AGAIN, I don't know how much of this is true - but this is what's being said on different message forums from people who say they are 'in the loop'.

The idiots over at ATC are suggesting everyone from Amy Sedaris to Kara Young to play Madame Arcati in Encores' HIGH SPIRITS. Have they ever seen or read any Noel Coward?

I'm betting they'll be lucky to get Harriet Harris.

SMASH is the first one out. Bad headline, Playbill -- if it was an "abrupt" closing, they'd be done tonight or already.

I feel sorry for everyone involved with Smash. Watching the Tonys it was almost as if the show never existed.

Danya Taymor should have won direction of a play for “John Proctor Is the Villain”.

Smash is smelly.

Do you think Danya Taymor, Jamie Lloyd. or Michael Arden is the best director on Broadway today?

I guess the source I was quoted in my above posts was correct ! One down, three to go.

R460 If I remember correctly, someone explained (on a theater forum not too long ago) that if a show announces it is closing in less than two weeks of posting the closing notice, then it's considered an 'abrupt closing' in the industry. It's similar to giving an employer a two week notice in business.

So they announced today, which means the earliest they should close is June 24. Closing in 12 days is considered 'abrupt' in this case.

Closing the same week would be considered abrupt. While some shows like to give more notice, two weeks, starting with the cast being alerted before half hour before the first performance of the week, and the press announcement going out after they've been told, is at the very least, an industry minimum standard.

Equity requires that the actors are paid for a full week of performances. A show can announce a closing on Tuesday and avoid paying actors for not performing. Two weeks is not required, but often tickets surge in the last weeks of a run.

A-ha, thanks for the information, R466, R467, and R468. I stand corrected.

More evidence that this season really sucked overall

Joy Woods said that this production of "Gypsy" was "reimagined to show the struggle of black performers at that time like Josephine Baker." y

"Gypsy" is a near-perfect musical that didn't need to be retrofitted to be "relevant" to today's audiences or to make some statement that its creators never intended to make. That kind of PR was never going to help fill all those empty seats.

R471. Sounds like a great idea for a musical. Maybe somebody should write one.

The fate of "Smash" demonstrates that a) Jesse Green seems to have little influence on ticket buyers, and b) Broadway musicals about Marilyn Monroe are not a good bet.

"Smash" wasn't even a good bet as a TV show.

I'm just glad that Smash finally did what it was supposed to a decade ago: transition from a barely remembered TV series to a quickly forgotten Broadway show.

[quote]R464 Do you think Danya Taymor, Jamie Lloyd. or Michael Arden is the best director on Broadway today?

Whichever one is the least nepo babyish.

So not Danya.

Smash is officially the first to go. Thursday is another common closing notice day. It's possible we'll get more announcements then.

There will be no surge for Smash. Everyone that wanted to see that shit on stage saw it in previews.

I agree on a moratorium on all musicals (and plays) about poor Marilyn Monroe. And I know Smash isn't really about MM, but her image is being used to sell (or not sell) the show.

Bring back the closing on Opening Night tradition.

I don't know if it's people being stubborn or sensitive, but it does feel like there's a conscious effort to delay the inevitable when it comes to closing a flop show.

Both^

Ego is terrible…especially in New York Theatre.

[Quote] "Gypsy" is a near-perfect musical that didn't need to be retrofitted to be "relevant" to today's audiences or to make some statement that its creators never intended to make.

Actually. Gypsy is dated as hell, both in subject matter and style. It’s not relevant today at all, which is exactly why it’s various productions over the last 20 years haven’t done that well.

R481: The theater community wanted to let these shows enjoy the Tony's but yes at some point they have to, no pun intended, face the music.

Unfortunately, at $200+ per ticket, it’s not enough to be a thoughtful, engaging evening of theater. It had to be epic. That’s been true for most of this century, but now it has to have a big movie or TV star attached.

This season had a lot of shows worth seeing, but I’m hoping for my wallet that next year is as unappealing as it looks now. Chess and Beetlejuice and Mamma Mia and Art and Rocky Horror Show? No thank you.

So what's with ENCORES! claiming all this shit about their La Cage when the Muny's production with Black, leads was announced awhile ago? ENCORES is writing as if it's ground breaking, but that ground has been broken. The Muny is using the original orchestrations also.

Over on the Tony Awards thread, a reader was curious about why The Great Gatsby has done as well as it has. I think it's a combination of two things: spectacle and bowdlerizing. The show seems to genuinely believe that Gatsby & Daisy had a true love.

Then again, taking liberties with the source material worked for Mame.

Broadway Box Office:

The current Bway Financing Model: Bring in a TV or movie star and hike up the prices to crazy highs.

voila! Box Office records shattered!

Mame is about a real White person. As the “the real Rose was White!” troll insists, does Mame have to be played by a White actress?

Mary Todd Lincoln was a white woman. We see how that worked out

Abe wasn’t very Filipino

But Abe certainly was a Mo

Leslie Uggams has played Mame.

LOCK 'ER UP!

Mame was VERY loosely based on real person.

R446 why is it okay to have all-black casts but not all-white casts?

The blatant hypocrisy of the woke progressives is astounding.

And you still think they're not anti-white?

And black supremacists!

[quote]Mame is about a real White person. As the “the real Rose was White!” troll insists, does Mame have to be played by a White actress?

No, she doesn't, because Mame is a fictional character created by Patrick Dennis (Edward Tanner). Yes, Tanner had an aunt who claimed that the character was based on her, and Tanner probably wanted people to think she was based on an actual person to create interest in the original novel, but she was entirely made up.

Lena Younger is a fictional character. I'd love to see what Jean Smart could do with that role

[quote]The current Bway Financing Model: Bring in a TV or movie star and hike up the prices to crazy highs. voila! Box Office records shattered!

Someone is posting outside the Minskoff Theater in the summer of 1994, when the "Glenn Close" name went up on the 'Sunset Boulevard' marquee.

The original La Cage had an all-white cast, save for a single black man. No one objected, including r497.

BREAKING: Cole Escola has just announced they will be starring as Effie in the 2026 revival of 'Dreamgirls'. Rounding out the cast will be Johanthan Groff (Lorrell) and Darrin Criss (Deena). Escola is trying desperately to get Jamie Lloyd to direct. Tom Francis is in talks to take on the role of Curtis.

I think Maybe Happy Ending can survive once Darren leaves.

I haven't seen Maybe Happy Ending, is Darren's character written as Asian or can they cast anyone?

^ the should cast Mandy Patinkin and see what happens

The two new leads in CABARET are terrific, especially Mr. Peck. Butchest MC in memory.

R504 he’s written as a robot duh

R505^

R507–a friend mentioned the butch factor…he really enjoyed Peck’s performance in contrast to La Lambert.

" Smash" smashed.

"Curves" curved.

"Dead Outlaw" dead.

Both leads out of DBH last night and, again, today. That show must be exhausting.

[quote]Unfortunately, at $200+ per ticket, it’s not enough to be a thoughtful, engaging evening of theater. It had to be epic.

You can't blame tourists for wanting a big spectacle given the high prices of a Broadway ticket today. A ticket costs as much as a day at Disney World. Most of them wouldn't be satisfied spending over $100 to see something like Maybe Happy Ending, or Project Mincemeat.

Losing a Tony is very tiring

[Quote] Mame was VERY loosely based on real person.

So is GYPSY

[Quote] why is it okay to have all-black casts but not all-white casts? The blatant hypocrisy of the woke progressives is astounding.

Um….

^ should say…”the whole history of Bway”

[quote]Both leads out of DBH last night and, again, today. That show must be exhausting.

The only ones exhausted are the box office personnel having to find upcoming seats for those that paid to see the two Tony nominated stars .

Jasmine out of both Boops today. Honey, enjoy doing the show while it's still there.

She just wrote on twitter that Boop wasn’t closing!

I’m assuming she is willfully uninformed

OR

They be telling untruths to the cast!

I've seen DBH twice and have yet to see both nominated actresses. Why don't they just call it quits and have someone physically stronger play the roles?

[quote]Actually. Gypsy is dated as hell, both in subject matter and style. It’s not relevant today at all, which is exactly why it’s various productions over the last 20 years haven’t done that well.

GYPSY may indeed be overdone, but it's not dated at all. It's themes are timeless, and if you think otherwise, you're a fool.

Well, it's not like either one of the two "stars" of Death Becomes Her is much of a star.

I mean, really, how many people go "shucks, Jennifer Simard is out today!!!!"

It'll be interesting to see what the rights holders to "Maybe Happy Ending" will specify for casting once the show is released for worldwide productions.

Will they require Asian casting?

I'm guessing they won't because that would be dumb....cutting off potential income from the schools and communities that don't have large Asian populations.

[quote]Mame is about a real White person. As the “the real Rose was White!” troll insists, does Mame have to be played by a White actress?

The reason Mame needs to be played by an actress who can credibly come across as a WASP has nothing to do with the fact that the character is very loosely based on a real person (and even that much is suspect) and EVERYTHING to do with the plot points of the play (and the musical), including the facts that Mame becomes beloved of all of all those bigoted deep Southerners and is also embraced with open arms by the Upsons, who are depicted as hating people of color and/or Jews, depending on which version of AUNTIE MAME or MAME we're discussing.

Christ, the racism just never ends here.

Jean Smart would have made a great Mame ten years ago-and yes, she can sing.

I don't want to set off all the pacemakers and Med-Alerts on here, but...

MAME

IS

NEVER

BEING

REVIVED

ON

BROADWAY

Just like Disney Theatricals isn't going to adapt Dumbo or Song of the South.

Danielle Brooks should play Effie Melody White in the Dreamgirls revival.

Danielle is wonderful, but I don't know that she has enough... grit for Effie.

Danielle Brisebois should play Effie Melody White in the Dreamgirls revival.

Megan Hilty's out at Death Becomes Her for the next few weeks.

Bitch stole my excuse.

R534 OH so you can Megan a bitch, but I can’t call Kecia one?

Aren’t you supposed to be seeing Les Miz at the Kennedy Center tonight, Patti?

Nicole and Tom both out of Sunset tonite. Seriously?

It's easy to explain, R537. I got mine, and Tom's a pouty little bitch.

They're all lazy, little bitches.

Shitty work ethics.

Ignoring the Covid years, every Tony nominee for Best Musical in the last ten years has survived at least six weeks post Tony Awards.

So, a warning to all buying tickets for a Broadway show now or in the coming 3 months, this is NOT the time for you to be wasting your hard-earned money!

It really should've become Broadway tradition years ago for all shows to shut down for a week following the Tonys because barely any of the nominated stars show up anyway.

THIS DAY IN BROADWAY HISTORY: In 1981, "Wally's Cafe" opened at the Brooks Atkinson Theatre.

Those two gals!

Everyone was in STRANGER THINGS last night. Liked it, but wish I had refreshed my memory as to the previous TV chapters. Occasionally nboring, occasionally confusing.

Jean Smart is the only Hollywood star who hasn't been bringing in big bucks on Broadway. Her play is flopping.

After Hacks (and probably before) nobody wants to spend money to see Jean Smart play trailer park trash in a bad wig sitting on a toilet.

Maybe Izzy would have done better off Broadway.

First of all, Studio 54 is way too big a venue. Second, the play is nowhere near 85 minutes as advertised; it's closer to 105 minutes. While Jean Smart is amazing in the role, I don't think a lot of people will be interested in seeing a play about an abused woman who writes poetry to escape.

That's quite a comedown after hosting the Oscars and Tony's.

She will probably be seen by more people hosting the fireworks than she would on the Tonys end Oscars combined

Leveling that pussy UP

If I see one more fucking Just in Time ad on Youtube...

"Call Me Izzy" is a terrible title. Maybe "Oh, Izzy!" would have been better.

[quote] [R346] I don't know why a cast album Grammy wouldn't count towards an EGOT.

You can make it count if you want to.

EGOT is an absolutely ridiculous made-up category to begin with.

[quote] Danielle Brisebois should play Effie Melody White in the Dreamgirls revival.

She's got PIPES! And so does her mom!

R553: Nice try bitch!

r553 - How about Izzy or Isn't He?

Why doesn't he just put his pee pee in her vajayjay?

She’s not even 18 years old!

[quote]Jean Smart is the only Hollywood star who hasn't been bringing in big bucks on Broadway. Her play is flopping.

She did an interview with CBS Sunday Morning this past weekend, and the clips of the show looked awful. Not the least bit enticing to me to spend big bucks on a ticket to see her in that awful wig playing a domestic violence victim (and I adore her). She said this 'called out to her' to return to Broadway. Maybe she needs her hearing checked ?

R558. not sure why but I find the idea of those two adopting a baby revolting.

R561 Maybe because a man in his mid-50s should be welcoming a grandbaby and not a baby ?

[quote]Those two gals!

Weren't they the original female Odd Couple?

Sutton has kids. Has she sold them?

[quote]r560 She said this 'called out to her' to return to Broadway. Maybe she needs her hearing checked ?

She said in a Hollywood Reorter interview that she turned down a Sondheim show. (This would have been post 2000.) I wonder which one it was.

[italic]"Stephen Sondheim had offered me a play. I flew out and auditioned for him for one of his musicals. And then he offered it to me, and I said, “No.” That was one of my biggest career regrets. I shouldn’t have auditioned for it unless I was certain I was going to do it. There was just too much family stuff going on, and I think also partly I chickened out. I think it’s one thing to do a Broadway play, it’s another thing to sing.

I believe it was FOLLIES, r565.

^She dodged a bullet.

It was probably for the Lindsay Mendez role in Merrily.

[quote]She did an interview with CBS Sunday Morning this past weekend, and the clips of the show looked awful. Not the least bit enticing to me to spend big bucks on a ticket to see her in that awful wig playing a domestic violence victim (and I adore her). She said this 'called out to her' to return to Broadway. Maybe she needs her hearing checked ?

I saw her in the play, and her performance is superb, but it's not surprising that the box-office numbers are in the basement. Such horribly upsetting subject matter -- and with an ambiguous ending, which I think was a tremendous mistake.

Smart also admitted in one of those SAG Conversation thingies on YT that she turned down the role of Anna in The King & I. I’m guessing it was the 1996 Broadway revival and Faith Prince ended up replacing Donna Murphy.

R565 I wonder if it was the revival of 'A Little Night Music' ? She would've been great in that. Much better than CZJ. Or maybe she was considered to replace her before Peters ?

Wasn't she also rumored for Phyllis in the last FOLLIES revival?

No, r572, the Roundabout. I remember word at that time that she'd turned it down.

And instead we got Bump Bump Blythe.

They originally wanted Sigourney Weaver and she turned them down.

Next was Jean Smart.

Finally Blythe.

In 2011, Kim Cattrall was leaked and almost signed.

Even though Phyllis is the Tony winning part, it’s hard to cast.

Phyllis requires gams.

Jean Smart has great legs!

She's built like a showgirl!

Jean Smart was in the original cast, Off-Off Broadway, of the lesbian play Last Summer at Bluefish Cove. The play moved Off-Broadway and Jean Smart reprised the role in an LA production.

I saw Jean play Marlena Dietrich in Piaf.

I saw Richard play fingerbang in Jean

Jean is great as Izzy. As for the play itself, it's basically one big monologue gone wrong.

I had not thought of the Bluefish Cove title in 45 years

The next thread, created a little early ... I thought we were up to 592 posts.

Besides Ragtime, Chess, Cats: The Jellicle Ball, and The Rocky Horror Show, are there any other revivals in the works for this new season?

Cats : The Jellicle Ball is not a revival; it's a "re-Imagining." It's "Cats" for gays and black cats:.

[quote]This version of Cats is a radical reimagining of Andrew Lloyd Webber’s iconic dance musical, based on Old Possum’s Book of Practical Cats by T. S. Eliot. This version is inspired by the Ballroom culture that roared out of New York City over 50 years ago and still rages on runways around the world. Additionally, CATS: The Jellicle Ball is staged as an immersive competition with all new Ballroom and club beats (with a live DJ positioned in the space), runway ready choreography, and an edgy eleganza makeover.  Cast members utilize the entire performance space, often interacting with the audience and moving through the aisles of the house.

[quote]Ballroom culture originated in New York City in the 1980s within the LGBTQ+ community, particularly among African American and Latino individuals, and centered around "houses" that act as familial units. These houses provide support and mentorship to members who compete in extravagant events known as balls. Participants, or "children," showcase their skills in categories like voguing and runway walks, judged by community elders. Ballroom culture has influenced mainstream fashion, music, and dance, offering a platform for LGBTQ+ individuals of color to express resilience and creativity in the face of societal marginalization. The culture is captured in the cult favorite 1990 documentary "Paris Is Burning" and has been celebrated in shows like "RuPaul's Drag Race" and "Pose".

Here's an excerpt from " Jellicle Cats":

R584

I heard a rumor about a revival of Antigone

THIS DAY IN BROADWAY HISTORY: In 1979, "The Madwoman of Central Park West" opened at 22 Steps Theatre.

...and Phyllis Newman will have to do.

R584, You forgot about A Chorus Line.

The ultra talented Ann Morrison will be taking over as Kimberly Akimbo on tour starting in July.

Sigourney Weaver’s Phyllis wouldn’t have time for a bunch of old broads at a follies reunion and she never would’ve married Ben in the first place.

The Merrily We Roll along movie with the revival Bway cast will be released in theatres Dec 2025

R591 Buck would never have married Ben either!

Jeez, they're dropping like flies ...

Closing ...

this ...

thread ...

out.

The next thread.

BAJOUR!