THEATRE GOSSIP #601: Closing Notices Galore

Continued from the prior thread (please use that thread first)

Am I supposed to know who that is, OP?

R2 Sorry, that's from a recent production of American Psycho in Houston. Robert Lenzi is playing Patrick Bateman.

Shouldn’t the women’s nails be manicured more and bright red to match American Psycho’s 80s aesthetic?

That's all well and good OP, but why does Patrick Bateman have an extra right foot?

r5 I wasn't looking at his foot......

[quote] While we discuss....whatever's left to discuss before new shows open, we can stare at the lovely white underwear.....much better than his attempts to sing.

Have you heard the score? It doesn’t really matter whether he can sing or not

Yeah, let's do musicals about delusional psycho killers. That's what we all need right now.

You can audition for Dreamgirls, too!

Robert Lenzi is adorable.

Best production of Dreamgirls I've ever seen is the bus and truck company that came to Broadway for a limited summer run and ended up staying for several months. Lillas White and Sharon Brown were Effie and they were both superb.

[quote]Lillas White and Sharon Brown were Effie

Side Show style?

Most memorable production of Dreamgirls I've ever seen was at a high school auditorium in Harlem. Effie flipped the table over during "And I'm telling you..."

[quote]Effie flipped the table over during "And I'm telling you..."

Did she sit on it?

Dreamgirls hasn't been on Broadway for over 30 years.

OP loses a lot of points for not including new DL fave Barry Williams in the thread title.

R16 I deserve to be chastised.

So is Queen of Versailles sunk by Kristin’s latest antics or was it sunk anyway?

I'd guess the latter, r18.

[quote]Sorry, that's from a recent production of American Psycho in Houston. Robert Lenzi is playing Patrick Bateman.

He's got the undies, but why isn't he splattered with blood? Isn't he supposed to be a psycho killer?

Queen of Versailles is sunk because it's a shallow idea, led by a shallow star influenced by the shallow woman who created the IP, put together by a very shallow producer. DOA because they all have no idea how awful it is to do her MAGA loving story now.

It’s a splayed big toe, R5. Those of us born without webbed toes can stretch out our toes.

R17 /OP

You're no longer a Big Man on Campus.

Chenoweth is for me one of the great stage talents of our time. It's heartbreaking to see her on Team Kirk.

Barry Williams could play Johnny Bravo covering "Cadillac Car" in the new "Dreamgirls."

KC might be a great talent but she is devilishly tough to cast. I could only stomach her in TWENTIETH CENTURY.

I'm not convinced she's "on team Kirk" more than she's a "both sides" type who is genuine in her religiosity and equally genuine in her love for the LGBTQ community. I mean, the woman was encouraging her followers to vote for Kamala last year. I like to think that she... foolishly... was equating Kirk with the average conservative Christian (many of whom are, no doubt, in her extended family in Oklahoma.)

People with whom she shares a religion, but diverges from them when it comes to politics and social progress. But IF that is the case, I think her team's advice for her to stay silent following the blowback she received online is foolish and allowing us to "fill in the blanks" and assume the worst about her.

Clearly, Kristin has no "team" because if she had a "team" they'd have been watching out for her and never would have allowed her to comment publicly about Kirk.

And, I'm sorry, there's just no excuse for her stupidity and insensitivity, "team" or not. This is just as bad as the whole Patti kerfuffle.

Lots of seats available for Cabaret's closing performance on Sunday.

Come Back To The Five and Dime, Barry Williams, Barry Williams

I Did it For You, Laura Linney.

or the upcoming season's surprise smash (you can quote me!, "Stay Away from the Stage Door, Billy Porter Billy Porter."

R28 - don't think you know what we're referring to. A friend of hers published screenshots of a text exchange they had where she claimed she was aware of the backlash, she was very sad about it, she wasn't MAGA at all, but that her team had advised her not to comment further.

And what the fuck are you talking about. Of course she has a team -- agent, manager, publicist etc. Are you nuts?

Broadway's Cabaret Stops Mid-Performance After Actor Is Rushed to Hospital for Health Emergency:

First photos of Keanu Reeves and Alex Winter in "Waiting for Godot":

THIS DAY IN BROADWAY HISTORY: In 1977, a revival of "Man of La Mancha" opened at the Palace Theatre.

KC is finished on Broadway. Stick to concerts, hon.

After what Camille Brown did to the Gypsy choreography, this Dreamgirls will be DOA.

Dreamgirls with Tituss Burgess, J. Harrison Ghee and Billy Porter. It's gonna lay em out in the aisles.

Exactly, r38. Gypsy seemed to indicate she had no idea how to tell a story through dance. And she's not only choreographing Dreamgirls, she's directing it.

r33, I knew exactly what was being referred concerning Kristin. My use of the quotes around "team" didn't give you a hint that I meant "team" facetiously?

What's the point of a "team" if they're not guiding and supporting her before she makes those blunders? And if she's not smart enough to consult them then her stupidity and insensitivity are there for all of us to see.

[quote]First photos of Keanu Reeves and Alex Winter in "Waiting for Godot":

Looks to me more like they were reviving Fiddler.

I think Bennett learned from FOLLIES and Prince and it informed his Dreamgirls direction.

I have an acquaintance who invested in QoV. After the last four days, he’s convinced he’s lost his entire investment (which I think was $50,000, or two units).

Who in their right mind would think that a musical about conspicuous consumption in this day and age would be a money maker?

BTW, the producers of “Fiddler on the Roof” earned a $1,574 return on every dollar they invested in 1964.

The smallest unit back then was $1,000, so if you bought in at the entry level, (like the old fashioned type of Bway “angels” who’d invest in a couple of shows a year, almost as a lark), you walked away with over 1.5 million.

[quote]Lots of seats available for Cabaret's closing performance on Sunday.

It could have run for many more months if they had thought to cast Barry Williams as the Emcee.

An all Brady Cabaret.

Christopher Knight IS Kit-Kat Club Patron #4.

[quote]BTW, the producers of “Fiddler on the Roof” earned a $1,574 return on every dollar they invested in 1964. The smallest unit back then was $1,000, so if you bought in at the entry level, (like the old fashioned type of Bway “angels” who’d invest in a couple of shows a year, almost as a lark), you walked away with over 1.5 million.

"If I AM a Rich Man."

I’m surprised the Brady’s never did much Broadway except when Maureen stepped in as Rizzo.

1) cash grab for the star

2) yokel gets to tell people back home they saw a movie star!

This is everyone's last warning: STOP posting about Barry Williams or anything Brady. You have been warned.

Some strange person is obsessed with relating investment returns to Zero’s landmark show.

Ugly.

Okay R50, Barry is off-limits because you're so easily triggered and lacking all sense of humor.

So let's discuss Susan Olsen's upcoming performance in Cabaret as Fraulein Kost... the slutty Nazi-lover in Frau Schneider's home.

Thoughts DL? Olsen playing a Nazi - yea or nay?

I remember reading very dire stuff about Maybe Happy Ending before it opened, and then it became a big hit. Queen of Versailles is also directed by Michael Arden, so I'm going to give it a chance on that basis.

Two *very* different properties and themes, r53.

Jan Brady in "The [George] Glass Menagerie!"

Chris was the cat’s meow 🥵

Ann B. Davis and Mary Treen in repertory: "Alice Doesn't Live Here Anymore" and "Oh, Kay!"

Based on his direction of Maybe Happy Ending and Parade, I have faith that Michael Arden will make Queen of Versailles interesting at the very least. Even if it's a big flop, I think his work will be compelling. He's really the only truly promising young director working on Broadway musicals right now.

And he might be a big brat and some of the other things DL talks about....

I think what will do it in, r58, is the subject matter.

[quote] I’m surprised the Brady’s never did much Broadway except when Maureen stepped in as Rizzo.

Barry Williams starred on Broadway in "Romance Romance" opposite Alison Fraser.

Like Evita, r59?

The real self proclaimed Queen of Versailles is a pig. And a bore I don't know why anyone thinks her life story is worthy of a Broadway musical. She must be bankrolling it.

No, r61, not like Evita.

[quote]The real self proclaimed Queen of Versailles is a pig. And a bore I don't know why anyone thinks her life story is worthy of a Broadway musical. She must be bankrolling it.

Next up: Laura Benanti in "Melania, the Whore of Slovenia!"

That I'd see, r64.

Mike "I'm the only Brady to be in a huge hit movie" Lookinland was probably "on Broadway" in the sense that "The Towering Inferno" probably screened in a Times Square cinema!

"Uh, I was in FOUR Broadway shows, bitchez!!!!"

So is Billy Porter headed for a revival of Moose Murders?

R67. Hold my curling iron.

Robert Reed was a replacement in Deathtap on Broadway

Deathtrap

DEATHTAP might be an apter title for a show starring Robert Reed.

[quote] This is everyone's last warning: STOP posting about Barry Williams or anything Brady. You have been warned.

Well, SOMEONE is NOT having a sunshine day!

Don't forget about Alice!!!

So for the last months of huge losses for CABARET, who pays those bills? The investors? The theater? I don't understand Broadway accounting...

Bialystok and Bloom, LLC pays, r75.

KKC, LP R75 and R76. Get it, Kit Kat Club LP. Money comes in, money goes out, very little left.

There was a time when I wanted to see Idina Menzel as Leona Helmsley.

Why aren't we singing the praises of adorable Jonathan Groff who just shows up every day giving a stellar highly-energized performance, never misses a show and never seems to whine?

R79. Fuck that

On Thursday Matinee, we saw HERCULES at the Theatre Royal Drury Lane. The musical, based on the Walt Disney Animation Studios 1997 film of the same name, with music and lyrics by Alan Menken and David Zippel, and a book by Robert Horn and Kwame Kwei-Armah, has had a few previous iterations. Wikipedia tells me that it had its world premiere at the Delacorte Theater in Central Park, Manhattan, New York, as part of its Public Works program in 2019. A revised version of the musical played at Paper Mill Playhouse in Millburn, New Jersey, during the 2022–23 season. And finally, the first international production and world premiere of Hercules opened at the Neue Flora in Hamburg, Germany, on March 24, 2024, and was directed by Casey Nicholaw. It is the first Disney stage musical to be developed in Hamburg.

Once again, Nicholaw is helming this new West End production. It’s a big show, with a really impressive set, a lot of terrifying monsters, and a fabulous 5-girl Muse Chorus – each one of them sassy and smart with big voices and lots of attitude. Unfortunately, they can’t make up for the obvious flaws in the production.

At our performance, we had an understudy on for Hercules. He was fine if you like tiny twinks with muscles – more of a Herculese, if you get my drift. He was an obvious recycled Aladdin. He had a nice voice. At least I think he had a nice voice, because the orchestra was miked so loudly that it drowned out most of the singing throughout the entire show. I don’t understand why some shows have perfectly balanced sound, while others seem to get it so wrong.

A lot of the (camp) humor was lost in delivery, especially from the tall actor playing Hades. There are so many actors who could do this role in their sleep (Alan Rickman, we miss you), but this one did not quite make the grade. I can’t be bothered to look up his name.

There’s a character called Phil who is Hercules’ sidekick, trainer, and mentor. Again, an understudy played the part – adequately but not great. My husband leaned into me and whispered, “Where’s James Monroe Iglehart when you need him?” Imagine my surprise when I learned that Iglehart had played the part in previous productions.

I must mention that the audience loved the show – at least it seemed that way from the cheering and the standing ovation at the end. And the special effects and sets did keep me engaged throughout the show. And those wonderful muses! The show has been expanded musically with 25 musical numbers listed, so lots of songs. I’m sure this Disney extravaganza will ‘go the distance’ and make it to Broadway if they can keep the running costs down...

...and hire James Monroe Iglehart!

Probably because he's gay, R79. We can't stand successful, trouble-free gay men round here.

Hercules was panned in The NY Times, which makes it less likely it’ll come over here without a lot of work. Although maybe nobody listens to the NY Times these days.

Disney's Hercules should be an easy adaption to do. Maybe that's the problem. Too easy to just phone it in and get something that belongs on a Disney World stage more than it does on Broadway.

On Thursday evening – our final night in London – we saw the wonderful production of THE PRODUCERS – a scaled-down version of the Broadway smash hit recently transferred from the Menier Chocolate Factory.

Right up front, I must admit that a good friend – Trevor Ashley – is in the production playing Roger DeBris, so to say that we might be prejudiced in favor of loving this show would be more than fair. We’ve known Trevor for almost twenty-five years, when he was a skinny drag queen doing shows in Sydney, Australia. He’s come quite a distance since then and now lives in London, although he works all over the world. In 2023, Trevor competed on the second season of Queen of the Universe and placed as the runner-up when the finale aired. And he does a fabulous Liza in his own voice!

Seeing this production just reminded me of what a solid, funny book the show has. Add to that the clever lyrics and the tuneful score. Just cast it well, and direct it with a tongue firmly in cheek, and you can’t miss. This production hits all the marks. And it has aged well!

It’s truly an ensemble piece, and I’m loath to single out any particular performer... but I will. Andy Nyman (as Max Bialystock) and Marc Antolin (as Leo Bloom) are fantastic, especially Antolin. What a joy to watch them play with vaudevillian precision. But they’re not alone. Harry Morrison‘s Nazi playwright, Franz Liebkind, is outstanding, backed up by a chorus of dancing pigeons. I think he was better than Brad Oscar on Broadway. And Trevor steals the show with his Keep It Gay Number, as well as his Springtime for Hitler, where he arrives via chariot. There were numerous sight gags, and the singing/dancing/acting chorus (especially the little old ladies with their walkers) deserved the standing ovation they received.

And thank you, they got the sound right. The orchestra is on a platform behind the set and matches the performances perfectly. Kudos to Tony Award-winning director Patrick Marber for pulling this all together in a perfect gift wrapped in a bow of comedic brilliance. I was surprised to learn that there hasn't been a production in the West End for more than two decades. I hope the rest of London enjoys this revival as much as we did.

imho

The Producers score is meh on a good day.

The Producers has a funny book and some killer numbers.

If you have a very talented cast (especially the two leads) and a competent director, it should be a decent show.

R75 The producer/producing company pays the bills out of the money they've raised or out of their own pockets.

Theaters are rentals. Though the major theater landlords will also be partnering producers on shows, too. It's complicated.

Shows will run at a loss as long as someone is paying the bills. Though the unions will shut you down pretty quickly if you don't meet payrolls.

I saw Maureen McCormick in GREASE and loved every single minute of it. I went backstage afterwards to tell her how much I loved her.

r85- why would you be surprised? The show opened on Broadway only 24 years ago.

Ugh. Showkiller Beanie Feldstein is on this season of Only Murders in the Building.

She's not bringing ANYthing to the party.

Someone is determined to make her a STAR!

Only problem is, she's bland; not comedically gifted (though she seems to think she is); fat; and unattractive.

She's basically Wendie Jo Sperber except for the fact Wendie Jo Sperber was hilarious and talented and adorable.

[quote]Shows will run at a loss as long as someone is paying the bills.

...and unless another show that looks like it's going to be a hit wants the theater.

NY Times on "Art" : Meh

NY Times on "Galas" : Meh

I want a Baby Jane musical, with Patti as Blanche and Bernadette as Jane.

R93 beat me to the punch —

Paying $25 for Galas is a bargain.

Art should pay you to see it. ($500 orchestra seats)

I thought Beanie was fine but the season is distinctly mediocre thus far.

Distinctly mediocre would be an improvement over the past several seasons, r96.

The Times needs to hurry up with the decision to name a chief theater critic. Now they're using b- and c-list stand-ins.

R98, I'm getting the impression that they may not hire one "chief theater critic." We'll see.

Yeah, I thought the point of them firing the four critics (across theater/film/TV etc) was to replace them with a cheaper rotating cast of critics.

You could be right. But they should find at least one who stands out the way Ms. Vincentelli and Ms. Collins-Hughes do not.

[quote]I want a Baby Jane musical, with Patti as Blanche and Bernadette as Jane.

Patti as Jane, Audra McDonald as Blanche.

Marc Kudisch in the Victor Buono role.

Patti is definitely a Jane, not a Blanche. Bernadette would be interesting as Blanche.

Audra always looks like she can spontaneously levitate at will, so no one would buy her as Blanche

Lea Salonga would rock Blanche, especially if they give her a good inner monologue to belt to the rafters

Constance Wu (Who?) is not happy. So, Connie, when you played Audrey in Little Shop it was a win for diversity casting but when a white actor replaced a diverse actor it's a crime. The worst part is she makes Andrew Barth Feldman sound like a jerk then goes on to bitterly point out that this has not affected the box office. Fuck off you untalented twat.

Constance Wu, by her own admission, has considerable mental problems. She is someone who for her own happiness should never go near social media by herself again.

The JustJared story really makes Wu sound off her rocker. She kept posting and posting how she said he was very nice to her but she eneded up feeling disappointed. Then she added this:

[quote] It's hard to keep speaking up when it feels like no one is listening in this new era. It's exhausting and increasingly lonely.

It's crazy that in 2025 she still thinks other people have to bear the burden of her feeling exhausted when no one listens to her--this is like Roxane Gay in 2018. But then of course she ends by saying ABF has to take responsibility for the producers' casting choices--when she's the one avoiding responsibility for her own feelings.

I would not want to go near this woman with a ten-foot-pole.

There's a reason why no one in the film industry wants to work with her. And, honestly, she's ok but nothing special. I saw her play a smallish role in the Bill Murray movie The Friend and she made no impression. The dog gave a better performance.

[quote]"I’m sorry to the thousands of people on BD Wong’s petition whose signatures...the producers have yet to publicly acknowledge."

In what way, exactly, did she want those signatures "acknowledged?" Statements about the controversy have been made by the creative team of MAYBE HAPPY ENDING, as well as by the female star, Helen Chen.

Cuntstance Wu strikes again.

For fuck's sake, he's already just in there as a temp replacement. An Asian man is returning to the role. What more does she want? Asians are not being ignored by one person playing a role for a few weeks.

It's not like they made Andrew's eyes look Asian.

[quote]NY Times on "Art" : Meh

[quote]NY Times on "Galas" : Meh

Datalounge on NY Times critics: Meh

Constance Wu needs to go away - along with this entire manufactured “controversy.”

If the creative team believed the part should be Asian, one would assume they would’ve casr an Asian. Now shut the fuck up. This whole “being seen” is exhausting.

Agreed, 112. And one of the saddest parts of this whole mess is that several artists whom I previously respected signed the petition. I won't name them, but my feelings about them have changed greatly :-(

[quote]The Times needs to hurry up with the decision to name a chief theater critic. Now they're using b- and c-list stand-ins.

What ever happened with/to Margo Jefferson. I thought her reviews were intelligent and thoughtful. Did she piss someone off?

Margo is nearly 78. The Times probably wants someone more hip and it touch with modern culture.

Margo was a terrible theater critic. She never reviewed the show -- just the "era" around the show.

I agree on Beanie. She must have the best agent in the world, one who has photos of someone, because the profile of jobs she gets isn't anywhere near her talent level. (Can you imagine how amazing Annaleigh would be in that part on OMITB?). I so wished Alex Watchel or Michael Reidel were around during the Funny Girl debacle. The truth was so carefully hidden. When I saw Beanie in the show, I couldn't believe what I was hearing and seeing. They must have seen how bad she was in the rehearsal room, but for some reason they ignored it, and then...well, we all knew how it blew up. I've heard stories that Leah was rehearsing months before she was announced. And how delusional that Beanie thought she could play that part.