THEATRE GOSSIP #602: The "Let's Irritate People Sick of Barry Williams" Edition

He is the new DL Favorite after all.

As a fat shut-in who hasn’t left home since The Brady Bunch Hour was on TV and couldn’t fit into a theatre seat anyway, I approve of this thread title.

[quote]I had to do it.

That's only because you love to drive things into the ground until they lose any vestige of humor they may have had, OP. Brevity is the soul of wit.

Thank you for starting a new thread, OP!

Yes, thanks OP.

I used to think that Muriel was Elaine Stritch. I mean, I never saw them in the same room together. Then I realized that Muriel would never lift her caftan for an English muffin man named Bays. I mean, my God, you have to keep the damn things refrigerated!

At Liberty was taped for HBO but they realized it was unairable. They switched to the Pennebaker documentary.

[quote]Brevity is the soul of wit.

Dunno, I think the title is pretty brev.

So where is the tape of At Liberty now?

Well done OP, well done!

Here you go r9. 2 hours and 25 minutes

Thanks R11.

Love the first comment:

[quote] @pjpugapillarfan2750 3 days ago This IS PURE TALENT I AM 52 NOW I CAN COMPLETELY RELATE! I LUV HER RIP YOUR 1 OF THE BEST

It's not the work, it's the stairs/stares. That is the centerpiece of the show. No further comments necessary.

STRIKE! STRIKE! STRIKE!

And you wonder why I drank.

[quote] It's not the work, it's the stairs/stares

I’ve never understood this joke.

I too saw At Liberty - one of the most impressive performances I've ever seen on stage.

[quote]I’ve never understood this joke.

I've never heard it as a reference to stares, r16. I believe it refers to - It's not the work (the fucking), it's the having to go up and down the stairs with each customer.

Besides Elaine, Bea, and Chita, were there any other prominent one-woman shows from that time?

Well, well, here ya go...

*Applause St Louis Photo Session*

There was Minnelli on Minnelli, R19, but you said "prominent."

R19. Dame Edna!

Hugh Jackman

[quote]Besides Elaine, Bea, and Chita, were there any other prominent one-woman shows from that time?

The amazing Suzanne Somers!

The idea that At Liberty was anything but a total triumph is just silly musings of contrarians.

From the last thread....

[quote]I did see At Liberty, and it was an amazingly memorable night of theatre. It's easy to dismiss Stritch when all you really know of her are anecdotes and YouTube clips. She was a force on the stage -absolutely magnetic. I never saw Merman, but those who did say she was the same. It's really hard for later generations to understand the power of stage stars of yore. Even if they were filmed, film never comes across the same -and performing styles change and evolve over time. Film performances are eternal, but stage performances are truly ephemeral.

I mean... I get what you mean. But, was the poster putting Stritch and Merm in the same category. If so, as someone too young to have ever seen Merm on stage, but someone who saw Stritch both on stage and on film/TV, I'd argue Stritch does not fit the description. Stritch knew how to play to the camera, too, as she proved brilliantly in 30 Rock.

I didn't really get Merm's appeal until I heard that soundboard recording someone posted of the final performance of Gypsy. She sounded sensational and far more nuanced and complex than I'd imagined.

One of my big regrets is not seeing that Suzanne Somers travesty

Not a big regret of mine, r27. I *hate* second-hand embarrassment.

R28 - Joyce DeWitt

Stritch was an actual actress, r26.

Mason Alexander Park will headline Oh Mary! In the West End.

Yeah, and Merman just coasted during her 40 year career, just lucky huh?

I have so many Broadway regrets

1) Missing “The Blonde in the Thunderbird”

2) Missing Billy Porter in “Cabaret”

3) Missing Tonya Pinkins in CSC’s Mother Courage.

Others?

R33. I had tickets for Farrah Fawcett in Bobbi Boland but they posted the closing notice after just a few previews. Huge regret.

I'm not slamming Ethel, r32, but there's a reason she never did Inge or Albee. Elaine seriously studied acting and was able to give more depth.

I know it's not in the same rarified category, but I had five tickets to David Merrick's all-black production Oh, Kay! and we arrived at the theater to find a closing notice posted on the front door. Bummer (for real).

How do I have *zero* memory of that, r36?

Per Ibdb:

Oh, Kay!

Richard Rodgers Theatre (Nov 01, 1990 - Jan 05, 1991)

Lunt-Fontanne Theatre (Apr 18, 1991 - Apr 14, 1991)

Comments This production played 19 previews and 77 performances at the Richard Rodgers Theatre; when it transferred to the Lunt-Fontanne, it played an additional 16 previews and closed prior to its re-opening date of April 18, 1991.

David Merrick's final solo producing credit.

I saw Oh Kay. You didn't miss anything.

[quote]I'm not slamming Ethel, [R32], but there's a reason she never did Inge or Albee. Elaine seriously studied acting and was able to give more depth.

I'm imagining her doing Lady Macbeth using her character from "It's a Mad, Mad, Mad, Mad World."

BAJOUR!

A great one woman show from that time was TEA AT FIVE with Kate Mulgrew as Katharine Hepburn, in her 20s and declared Box Office Poison in Act I and in her dotage in Act II.

No, Mulgrew didn't play "herself" but she was stupendous. A tour de force.

I saw Elaine and Chita, but not Bea. Two outta three ain't bad!

R3 isn’t Alice. She’s Kay.

R43. Tea at Five at the fabulous Promenade Theatre! I still remember the audience gasping when Kate turned to face us as older Hepburn at the start of act 2. One of the greatest performances I've ever seen.

I saw it too, R46. That brought the house down.

R44, I saw all 3. Chita by a mile. Bea was fun. Elaine was…. Elaine.

[quote] One of my big regrets is not seeing that Suzanne Somers travesty

I saw it three times, if you can believe it. I wasn’t bored for one second.

Weird that Oh, Mary is opening in London without Cole and without, with all due respect to the actor, a recognizable name. Very different strategy from NY casting. I guess they're hoping the buzz for the play itself is enough.

London doesn’t go for American First Ladies played by drag queens. It will be closed by Boxing Day.

And Broadway didn't go for American First Ladies played by British grande dames. We closed in four days!

[quote]Besides Elaine, Bea, and Chita, were there any other prominent one-woman shows from that time?

I'm probably being pedantic here, but are you talking about Chita Rivera, A Dancer's Life, r19?

She had an incredible roster of dancers with her.

[quote][r33]. I had tickets for Farrah Fawcett in Bobbi Boland but they posted the closing notice after just a few previews. Huge regret.

Don't be, r34. I worked on that show. I don't know what was going on with her, but it was painful to watch.

She was so sweet.

Barry Williams in Tea At Five!

Barry Williams IS Hepburn!

Barry is suitable for any occasion...

[quote]A great one woman show from that time was TEA AT FIVE with Kate Mulgrew as Katharine Hepburn, in her 20s and declared Box Office Poison in Act I and in her dotage in Act II.

You're right that Mulgrew was a tour de force, r43, but I'll respectfully disagree that it was a great show. Matthew Lombardo chooses extraordinary women for his mediocre at best plays. They elevate the material.

Then there was Valerie Harper, who recreated Tallulah Bankhead flawlessly in LOOPED (and Lombardo sued her for dropping out when she had cancer).

A huge fail of his was HIGH, with Kathleen Turner. It was terrible with raisins. The director let Turner loose, and she was a massive scenery chewer. It was a complete disaster. Its sole saving grace was a nude Evan... somebody.

It closed the week it opened. It ran at 20% capacity, and that included comps. Michael Beresse played a priest! and Turner played a nun. Beresse left the production before it went to Broadway.

Harper in LOOPED

With Dino Fetscher as Mary's Tutor in London, who cares who's playing Mary??

Maybe I'll fly over there and see it again? And actually enjoy it.

[quote]You're right that Mulgrew was a tour de force, [R43], but I'll respectfully disagree that it was a great show. Matthew Lombardo chooses extraordinary women for his mediocre at best plays. They elevate the material.

Agreed 100 percent. And the writing of TEA AT FIVE was only good in Act II, not in Act I, though as you say, Mulgrew elevated all of it.

And I think most of Act II was lifted directly from Hepburn's late in life interviews.....

Nevertheless, it made for a fun night if theatre.

I saw Helen Gallagher play Tallulah in Bucks County one summer. Painful.

Barry Williams in a splashy revival of MARLENE!

BD WONG HAS SPOKEN!!!!

It’s really too bad that there’s no such thing as an earned standing ovation on Broadway anymore. It was so cool when you were in the show and got one.

RIP

It’s interesting that the person playing Mary in London is a male to female trans lesbian!

(If you check out the instagram)

Is that a first?

I find the Barry Williams posts entertaining (at times), but can we all pause for a time and tattle on Patricia Routledge? A grand dame of the British stage and screen, she's DEAD to me at age 96.

She had her time on Broadway too you know...

Saw RAGTIME last night, a bit reluctantly since the show has always left me cold. And I hadn't much confidence in Ms. de Bossenet (I didn't see the Encores! version). Head spun. It's a superb production, expertly directed, and brilliantly cast. Joshua Henry and Brandon Uranowitz are Tony-worthy, and the technical aspects are aces. It's still too long (why the baseball number?), but it's gripping throughout. Not surprisingly, the audience, made up of lots of eager beaver theater geeks (who else would give Shaina Taub entrance applause?) was prepped to like it, but this kind of enthusiasm for the show can't be forced. Still don't think it's a "great musical," (although the opening number is one of the greatest, imho, wonderfully served here), but it's a great production. I'll go back.

Lombardo seems like a big Muscle MARY! who thinks peppering a script with a little gay tinged gossip and chatter maketh a good show.

R67, do you have any idea why you loved this production when "the show has always left you cold?" How many previous productions did you see? If you only saw the original production at what was then called the Ford Center, maybe the problem was that many people felt/feel that theater is too huge for an kind of emotional involvement in what's going on onstage.

P.S. I can see why you think the baseball number is superfluous, but I assume it's there because the show's creators felt they needed a bit of lightness in the increasingly dark second act.

The baseball number is actually important. Father is a flawed but decent man who puts faith in his society and justice system, only to see it prove entering false. He starts out as an adventurer, comes home to find he doesn’t understand his family, takes his son to a ball game and realizes he is even more out of tune, and then delivers Coalhouse to be murdered.

Colin Donnell gave a flat performance at City Center. But the simplicity of the book’s line after Coalhouse is shot has stuck with me for many years: “Father screamed.”

I’m not r67, but the problem I have with Ragtime is that it has too many power ballads. I know when they ran the first tour, they slimmed it down by cutting “He Wanted To Say.” I think also the scope of the story is too broad, as in too many characters to keep up with.

Patricia Routledge was the crown jewel in Shakespeare in the Park’s starry production of The Pirates of Penzance.

[quote]it has too many power ballads

That's un-possible!

Say what you will about "Ragtime" (which is one of my all-time favorite shows; I saw the pre-Broadway run in LA and the 2010 revival in NY as well as a few regional productions) but the musical does a FAR better job of adhering to the novel than the movie did. The film version focused mostly on the Coalhouse storyline, to the detriment of the other two major stories. The musical is far more balanced.

Barry Williams is matinee Booker T. Washington!

[quote]The musical is far more balanced.

And long.

gah, I saw a production of Ragtime at Barrington Stage in Pittsfield which was so bad. just so bad. i have no interest in spending a lot money to try the show again. Father was played by former DL-fave, David Harris. He was good in the show, but the production was a-w-f-u-l.

Now, the planned Patricia Routledge and Barry Williams “Frankie & Johnny ….” won’t happen.

R16 I've heard this joke told elsewhere (maybe by Elaine, I don't remember) where it was "As the *one-legged* prostitute once said...", which makes much more sense.

R16, it’s easier to lie on your back than go up and down the stairs (to and from the street, with each new …”customer”).

Virgo, R16?

[quote]I’m not [R67], but the problem I have with Ragtime is that it has too many power ballads. I know when they ran the first tour, they slimmed it down by cutting “He Wanted To Say.” I think also the scope of the story is too broad, as in too many characters to keep up with.

Your first criticism is valid, and has been voiced by other people, but I don't agree with the second.

r67, here. I understand about needing to lighten the mood, but I was eager to follow the trajectory of the Coalhouse story. And it was already late. If the song was better, that would help, but this one is pretty lame. Although nicely staged. To each their own.

Damn. I was so looking forward to that R78.

Didn’t the reliably reactionary Ethan Mordden hate Ragtime because he felt it glorified terrorism?

I was kind of looking forward to seeing Patricia and Barry in I Do! I Do!

I wonder what Company rehearsals were like with Dean Jones and Elaine Stritch? Was he a Christian at that point in his career?

The Barry Williams thing was funny, but some of you really need to learn how not to fuck a mildly amusing joke into the ground.

I believe the breakdown that precipitated his leaving the production is what turned him into a Jesus-peddler.

I assume Elaine behaved herself somewhat with Company, r86. Hal gave her a chance to reboot her career and she knew it.

And wasn't Company a big comeback for Elaine after several years in London and bartending t Elaine's (the other Elaine)??

I think the awful self-indulgent misbehavior began after her enormous success with Company.

Elaine: Hey, Dean! Did you hear the one about the one legged prostitute?

Dean: Elaine, I’m on the phone with the Walt Disney film division.

Elaine: Tell them Lansbury’s gonna suck in Bedknobs and Broomsticks.

[quote]How do I have *zero* memory of that, [R36]?

I actually saw the David Merrick all black production of "Oh, Kay" and have almost zero memory of it. I do remember Brian Stokes Mitchell was in it (as Brian Mitchell) and that it wasn't very good.

R87 Thank you. Was about to say the same thing.

Just announced! Barry Williams in The Patricia Routledge Story!

Dead horse beating is Datalounge's favorite sport, R93.

Li-sha

I like blue

So young

Let's be

So all productions of "Oh, Mary" must have "trans" actors cast in them and if you are white, you have to be "queer", or "non-binary"?

Seems like schtick, no?

Sometimes the gender bending is written into the role. I think you have to let the material settle in with audiences for a few years before you start shaking things up that way. We now get men playing Lady Bracknell and women playing Hedwig. The material has already proven itself, so it survives and audiences get a new point of view. Give Oh, Mary a few years to become a known property, and then the casting directors can have at it all they want.

R96. Really?

What am I, chopped liver?

no Betty, you're still Betty Gilpin... who is Chopped Liver?

Is Chopped Liver the next RPDR queen to hit the Broadway stage?

I had to look up Betty Gilpin. Didn't help.

I don't thing I read *anything* about Gilpin's performance.

[quote]Sometimes the gender bending is written into the role. I think you have to let the material settle in with audiences for a few years before you start shaking things up that way. We now get men playing Lady Bracknell and women playing Hedwig. The material has already proven itself, so it survives and audiences get a new point of view. Give Oh, Mary a few years to become a known property, and then the casting directors can have at it all they want.

Isn't it written into contracts that Edna Turnblad has to be played by a man?

[quote]Seems like schtick, no?

No.

[quote]A great one woman show from that time was TEA AT FIVE with Kate Mulgrew as Katharine Hepburn, in her 20s and declared Box Office Poison in Act I and in her dotage in Act II.

Wouldn't this be a great revival some day ? With just the right actress playing Hepburn...Faye Dunaway, perhaps ? Let's try to make this happen !

I see your point, R82, and I tend to agree the cutting the baseball number would probably improve RAGTIME, because lightening the mood at that point is not as important as getting on with the story.

And getting out of the theater.

As far as one-woman shows on Broadway in the last 25 years, one show which did not make it to B'way was "Diahann Carroll: The Lady. The Music. The Legend." Similar to Lena Horne's one-woman show which ran on Broadway for over a year (1981-82) and then had a successful road tour, Carroll's show was also a reflection on her 50+ year career, while she sung tunes by Rodgers and Porter. The show premiered in Palm Springs in July, 2010 and ended after two performances (the best of each night was edited together to be broadcast on PBS a few months later).

When the show wasn't picked up by investors to tour and eventually land on Broadway, Carroll insisted that was never the plan - she wanted to do this concert for PBS so her 'grandchildren would appreciate her legacy '. However, sources involved with the production had said the show wasn't ready to tour and not even close to being B'way-worthy for the upcoming season. (Sounds like the troubles Dolly Parton is having with her B'way musical today).

Faye's Tea At Five was only Act 2 which ran under an hour. They should have cast a younger actress for Act 1 and given the audience the whole play.

[quote]They should have cast a younger actress for Act 1

LoL

Did someone mention Younger?

Or youngest?

Ruth Younger?

r98, I did remember Jane Krakowski was stepping in, but having seen her entire bag of tricks over decades I can tell how she'll play it....the same way she plays everything!

I think she does not have the chops for this, but I'd love to be wrong. Maybe she'll kill it?

Break a leg Jane Krakowski!

And an arm and a neck and a spine.

When I first went to see Pirates of Penzance in the park when I was very young I had no idea who Patricia Rutledge was. After the performance I was like who the hell is this person that I've never heard of.

I went back to see it a second time. 0ne of the most joyous experiences I've ever had in the theater. Too bad when it moved to Broadway she wasn't in it and they put it in an airplane hangar otherwise known as the Gershwin. 0r as Frank Rich put it when they named it that the Gershwins got the booby prize.

[quote]Too bad when it moved to Broadway she wasn't in it

She went back to London to be in the original cast of Noises Off. What a career!

Wasn't expecting Jane Krakowski hate. I unapologetically adore her -- both her TV work and her theatre performances. She's one of those broads with... all the right screws loose.

Krakowski’s apparently singing and dancing her ass off in the Schwarzenegger Santa movie The Man With the Bag but Amazon-MGM are holding it back for NEXT holiday season, not this one. And it wrapped in February.

Shaina Taub is wildly untalented. And a meskite.

Notwithstanding the fact she gets a free pass forever for Jenna Maroney, Krakowski was luminous - effortlessly so - in the recent London production of Here We Are.

I get frustrated by Krakowski’s limited range and her lack of nuance within that range. She was ok in Here We Are, but never felt like an actual human dealing with absurd circumstances. She was clearly mimicking Rachel Bay Jones, while all of the actors brought something different. Jones’ scene with the priest was the high point of the show. In London, it was just another stop on the road.

Never liked Krakowski on stage at all. She's always ACTING!

Cynthia Nixon certainly never liked Jane. Neither did Chita Rivera (according to her memoir)

I think it also says something that she had been nominated for 7 Emmys and never won.

That speaks to how her peers view her

Oooh! What did Cheets say about Jane?

I’ve loved Jane in everything I seen her in onstage-from Grand Hotel to Nine

Jane certainly wouldn't be the first nor last actress who essentially plays a version of herself on stage.

Limited range but she knows how to work every bit of it.

[quote]A huge fail of his was HIGH, with Kathleen Turner....Its sole saving grace was a nude Evan... somebody.

Turn in your DL Gay card. That Evan was Evan Jonigkeit, the blushing groom to DL favorite (and Lena Dunham-adjacent) Zosia Mamet.

Evan Jonigkeit has BDF for days.

Tina Fey liked Jane Krakowski enough to give her a role vacated by one of her (TF's) best friends (30 ROCK) and to use her again in UNBREAKABLE KIMMY SCHMIDT.

I don't disagree about Krakowski's limited range, but she does seem to know her lane and stick to it. I did think that her NINE win was ludicrous -- I'd have voted for her costar Mary Stuart Masterson or perhaps Tammy Blanchard (GYPSY).

I've seen most of Jane Krakowski's work on stage and tv and in my opinion she plays every character like the "naughty-fake-innocent sexpot/kewpie doll" and it is beyond predictable. There's never much there there for my buck, all surface schtick and shimmy. It is that same Grand Hotel performance cut & pasted again and again.

Did she and Cheets spar backstage during Nine?

[quote]Tina Fey liked Jane Krakowski enough to give her a role vacated by one of her (TF's) best friends (30 ROCK)...

Tina Fey threw one of her (TF's) best friends overboard to give Jane Krakowski her role (30 ROCK)...

Once she saw that she got away with it and that the suits and the public accepted what Jane offered, Tina saw which side of the bread the butter was on. Tina has always been a producer who acts a little rather than an actress who produces a little.

It was Jane’s success on 30 Rock that solidified that schtick for everything that followed

R124 - from A to B.

Nothin' wrong with shtick.

[quote]'ve seen most of Jane Krakowski's work on stage and tv and in my opinion she plays every character like the "naughty-fake-innocent sexpot/kewpie doll" and it is beyond predictable.

Copycat

Chita wrote in her memoir that whenever she had something bitchy to say, her alter ego would say it. When she wrote that Jane Krakowski won the Tony, she said her bitchy alter ego had a lot to say about that win and that someone else (she specifically mentions Laura Benanti) should have won instead of Jane.

R133 thanks for saying that. Tina did Rachel Dratch dirty on that front.

Krakowski is one of the more dishonest stage creatures out there. I never believe a word or gesture emanating from her.

[quote]Chita wrote in her memoir that whenever she had something bitchy to say, her alter ego would say it.

Was her alter ego named “Rita”?

[quote] Turn in your DL Gay card. That Evan was Evan Jonigkeit, the blushing groom to DL favorite (and Lena Dunham-adjacent) Zosia Mamet.

LENS Dunham, dear. LENS Dunham. That’s one point on your own DL Gay card.

Buh-bye, Barry ! This has now become the Jane Krakowski thread. Enter at your own risk.

I think Tina was forced to ditch Dratch because of the producers.

R140, a friend is convinced that Jane Krakowski has based every one of her performances on (get ready) Doris Singleton playing ‘Carolyn Appleby’ on “I Love Lucy”.

The affected speech pattern, the unmotivated gestures, the seeming to be in a different show than her castmates, and the overall phony baloneyness in her approach.

I don’t necessarily disagree with the comments here about Krakowski’s limitations/affectations. But I liked Jane very much in “Schmicago,” thought she really delivered what was required, amd she generally does when cast within her range.

I like Jane K. She does seem to play a similar character every time but so does so many actors. She finds roles that fit her and I enjoy her

R146, how dare you besmirch the rep of the divine Doris Singleton! She was a lovely little spice on ILL, added to the recipe sparingly and effectively.

And Sutton is *so* versatile.

Has anyone seen Sutton in concert? Any good?

Now Ethel Merman, she had versatility! And Liza Minnelli, why so many performances I didn’t even realize it was her!

Only on the DL would you find trolls who hate adorable Jane Krakowski.

I mean...she's Jane Krakowski! She gets the job done!

As for limited range...all actors have their 'range' and I wouldn't call Jane's range that small.

You know who has a small range...DeNiro. He's very good in that small range but...it's still not very broad.

Jane would make a fabulous Baby Jane Hudson.

Jane Krakowski seems to only play characters who are selling themselves. I love her, but her characters are always “on”. I don’t remember seeing vulnerability from her ever.

I think she does what she does very well. But I couldn’t see her playing a character with any depth

Jane as Mame!!

Will Broadway dim their lights for Patricia Routledge?

Jane Krakowski has a small range but her refrigerator is HUGE.

Jane did a lovely version of “My Funny Valentine” on some PBS Rodgers and Hart TV special. She showed lots of vulnerability singing that song.

She was adorable as TR (Theresa Regina) on the defunct NBC daytime soap Search for Tomorrow aka Search for Your Asshole. She was this adorable blonde butterball, not a typical soap type per se but still cute,

R7, what are you talking about when you say "At Liberty was taped for HBO but they realized it was unairable"? The video of ELAINE STRITCH AT LIBERTY was commercially released. The HBO blend of excerpts with "behind the scenes" moments was unsatisfying to say the least.

Let's see... How about Jane Krakowski and Barry Williams in:

I Do! I Do!

The Last Five Years

Marry Me a Little

They're Playing My Song

John and Jen

And they could be joined by James Corden for a slap-up production of tick... tick... BOOM!

[quote]Jane did a lovely version of “My Funny Valentine” on some PBS Rodgers and Hart TV special. She showed lots of vulnerability singing that song.

She also had some lovely, vulnerable moments in NINE when she sang her goodbye song to Guido. Some people here are being very unfair and bitchy towards Jane. Of course, she has her bag of tricks like SO MANY actors do, but she is a good enough actress that her range is a lot broader than some of you people are making it out to be.

Wasn’t Jane going out with Mike Liddell, the MyPillow guy?

I just both tickets to Chess for the day before Thanksgiving.

I hope everyone is in because tickets are far cheaper than any other days

^both = bought

I love when chubby teen age Jane pops up as the babysitter in Fatal Attraction.

Only on the DL would you find trolls who hate adorable Jane Krakowski.

Did you see all the shit they threw at the unassailable Jean Smart, r153? I don't understand people who thrive on snark.

[quote]Jane Krakowski seems to only play characters who are selling themselves. I love her, but her characters are always “on”. I don’t remember seeing vulnerability from her ever.

Then you saw neither Grand Hotel nor Mack and Mabel, r155.

[quote{Shaina Taub is wildly untalented. And a meskite.

To be fair, the woman she’s portraying, Emma Goldman, wasn’t much of a looker.

Jane and Barry for the first Broadway revival of Life With Father (at one point Broadway ‘s longest running play).

Jane turned down Chicago both in NYC and the West End numerous times

I don't blame her, r172.

Was there a role on Broadway Jane would have been good in besides Nine?

The only thing I could think of is she might have been a good wife in the latest revival of Into the Woods opposite Cheyenne.

The work together a lot and he is able to put up with her.

I’d see Chicago with Jane

Jane can revive 'Call Me Izzy' in a few years !

Or star in another revival of 'Hello Dolly' in 2029 (the 65th anniversary revival)...opposite Barry Williams. Rachel Dratch for Irene Molloy.

Jane is more of a witch than a bakers wife.

[quote] Let's see... How about Jane Krakowski and Barry Williams in:

Lay off it. You're going to chafe.

[quote] Will Broadway dim their lights for Patricia Routledge?

Aren't they doing that participation trophy nonsense where they dim quarterly from everybody who has died in that period? Or was that just a proposal?

r151, I saw Sutton Foster in concert this summer with Kelli O'Hara at Tanglewood.

Not really a great fan of either one but my friends love KOH so I thought, well, maybe I'll finally get a chance to see what all the fuss is about.

Well, no. Both were as dull as can be and their "patter" was particularly tepid and unfunny. Sutton looked (and danced) horsey (performing Anything Goes and Big D). IIRC there was no director listed. They really needed one. I was, at least hoping to run into Hugh Jackman on the grounds but, alas, no. Again.

I thought Kelli O and Sutton didn't speak! Did they mend their fences?

I listened to the Devil Wears Prada cast recording today. Meh. One lively number called Dress Your Way Up which sounds like something from Kinky Boots and one fun number House of Miranda. Lots of screeching but what else is new. Very bland. If they do bring it to Broadway they should open around the time the sequel hits movie theaters.

Jane "dates" closeted David Rockwell.

[quote] a friend is convinced that Jane Krakowski has based every one of her performances on (get ready) Doris Singleton playing ‘Carolyn Appleby’ on “I Love Lucy”.

Yes, except for Starlight Express where she based her performance on Lillian Appleby.

[quote]And Liza Minnelli, why so many performances I didn’t even realize it was her!

Pookie Adams in The Sterile Cuckoo

Sally Bowles in Cabaret

Lucille Austero in Arrested Development

I think Liza has nothing to prove as far as versatility.

[quote]where she based her performance on Lillian Appleby.

There's actually a show in the "Hollywood" episode where Ricky refers to her as Lillian Appleby, and this is long after she'd been changed to Carolyn.

I was walking downtown this afternoon and Daniel Radcliffe walked past me. He appeared to be just out for a leisurely walk -- alone, wearing a t-shirt, shorts, a baseball cap and listening to airpods. Though I've seen him on stage a number of times (including most recently in "Merrily"), it was a bit jarring to look over and see him just a few inches away from me. And yes, even when looking somewhat grungy, he's still just adorable.

[quote]he's still just adorable

I can't imagine the restraint it took to not pinch his cheek.

Don't understand the Jane Krakowski hate. She's fantastic, a master of timing.

But some DLers seem to have a bug up their ass about certain female stars (to join the bug they got up their ass years ago).

I remember that on the SNL threads, there was someone who would rail on about how Maya Rudolph had no talent and was the worst comic actress ever to walk onto that stage and back onto earth. Week after week, obsessively. I wonder if they've reassessed that position after years of being subjected to Heidi Gardner, Sarah Sherman, Molly Kearney, and Jane Wickline. Probably not.

R186, the prop postcard used on the show is addressed to Lillian Appleby.

Lillian Appleby was a whore. She never really knew who little Stevie's father actually was.

Radcliffe is doing a play this Spring on Broadway.

M&M

Person to Person with Carol...and husband.

I thought Jane Krakowski based her performances on the waitstaff of Apples and Bees

"I can't imagine the restraint it took to not pinch his cheek."

Face, or ass?

R189 I'm not the Maya Rudolph hater but...

I'm not a fan either.

Wasn't that a huge mistake that it was addressed to Lillian? She only had that name for one or two episodes before becoming permanently Carolyn (including in the famous "Lucy Tells the Truth" episode).

Were Lucy and Desi too busy otherwise to remember Lillian was now Carolyn and just didn't catch the error?

I'm sure that old queen Van Johnson in this episode was driving them crazy with asks and demands and they missed this detail!

I'm with you, R189. Jane Krakowski is a total delight. I've only seen her on stage twice -- She Loves Me and Guys & Dolls (in London) and she was marvelous both times. And she was comedic GOLD in 30 Rock. I love love love Rachel Dratch but Tina and NBC 100% made the right decision in replacing her with Krakowski.

[quote]A huge fail of [Matthew Lombardo's] was HIGH, with Kathleen Turner....Its sole saving grace was a nude Evan... somebody. - r57

Turn in your DL Gay card. That Evan was Evan Jonigkeit, the blushing groom to DL favorite (and Lena Dunham-adjacent) Zosia Mamet.

My gay card is yours, r129. I don't use it much these days anyway. It seems a little harsh, though. I was mostly having an eldergeigh moment. I would have thought my larger error was misspelling Michael Berresse's name - twice.

Forgive me Father, for I have sinned.

Show hole, of course.

Let me try that again.

[quote]A huge fail of [Matthew Lombardo's] was HIGH, with Kathleen Turner....Its sole saving grace was a nude Evan... somebody. - [R57]

[quote]Turn in your DL Gay card. That Evan was Evan Jonigkeit, the blushing groom to DL favorite (and Lena Dunham-adjacent) Zosia Mamet.

My gay card is yours, [R129]. I don't use it much these days anyway. It seems a little harsh, though. I was mostly having an eldergeigh moment. I would have thought my larger error was misspelling Michael Berresse's name - twice.

Forgive me Father, for I have sinned.

—Now, what must I do to atone?

[quote]Show hole, of course —Duh.

You did see my free confession that I'm an eldergeigh, right?

Your shame will be The Datalounge's gain, r203.

I had no idea that Krakowski, unlike Audra McDonald or Bernadette Peters or Kelli O’Hara, had a Datalounge pass. Mediocrity always finds its champions.

This is so fucking dumb. Krakowski is not mediocre.

She was a cute Mabel, just wish she'd worn a brunette wig to look more like the real Mabel.

Yes, I know I'm old. Though born long after the real Mabel died.

R199, Van Johnson wasn't in the episode with the post card. That was the one where Lucy fucks up the scene wearing the giant headdress. Not surprisingly, she tried to recreate the scene in Mame. Van Johnson's episode had Lucy storming in the room saying "Caroline Appleby's coming to town".

R189, gays compare their divas and Maya really was second rate compared to Mad TV's Debra Wilson who was a comedic genius. Their Whitney's weren't even comparable.

For the sake of accuracy, the husband with Channing above is not the gay one. This was her second, Alex Carson, a Canadian footballer, ostensibly straight. Courts severed his ties with the son for "abandonment." Channing married Lowe and she later said he never fucked her.

[quote]Yes, I know I'm old. Though born long after the real Mabel died.

Sure, Jan.

That Rachel Zegler/Ramin Karimloo "Move On" duet is fantastic.

Reddit's Nicest and rudest Broadway actor. Not much dirt here but still fun. I liked this dig at Laura Osnes: Rudest Laura osnes. She came over with Jackie burns( who was wonderful) for an event and clearly didn't want to be there. She eye rolled anyone who asked for a photo. Just leave another way if you don't want to

[quote] Don't understand the Jane Krakowski hate.

Clearly you’ve never worked with her.

Jane is basically Sarah Jessica Parker 2.0, down to the kewpie/sexpot act.

Same queens who rave over Lea Michele find Jane AMAZING.

It's been done before kids, and better.

Piss off, R215. Jane Krakowski is very talented, aside from her great beauty.

SJP does a kewpie act?

And, Jane Krakowski and SJP are not alike at all.

Lea Michele isn't particularly a favorite of mine. I do enjoy Jane a lot and SJP when when she was young...she started losing her appeal starting with Season 5 of SATC or so.

If you want to talk great, underused talent start with Alice Ripley.

Not MOR treacle.

I’ve started several posts about Kelli O’Hara but have fallen asleep every time. She’s THAT dul—zzzzzzzzz

R210 speaking of, that footage has disappeared from the internet. In 1998 Channing sued Lowe for divorce, alleging he was gay and also mishandled her money, but he died in 1999 before the suit went forward. Carol went on several morning shows where they asked to her face, and she affirmed, that she and Lowe had penetrative sex only twice in their marriage and that he abused her physically. It was bizarre because it was a totally different topic for Channing to be talking about, when most of her morning show appearances she's in heavy plugging mode for whatever show she was in: the last Dolly, Legends, Sugar Babies, Lorelei.

Lowe's name is nowhere to be found in her memoir.

It tells you everything you need to know about the abysmal taste on the DL that Patti LuPone can do no wrong, but Kelli O'Hara is boring.

Amen, R221 :-)

My god those Reddit posts about the nicest Broadway actors was the most boring thing I've read in years. First of all, it's mostly about stage door encounters, which is not the exactly the most genuine or natural way to spend time with people.

Just try doing a quick change with some of them.

r143, DL "revered" mis-typing has no legitimate affect on Gay Card scorekeeping.

WHET?

BEARKING?

LOLZ

R221 Are you new here? Patti is CONSTANTLY getting raked over the coals here. Some of which she deserves.

But, yeah, Kelli O'Hara is pretty boring. Gorgeous singer but a tad bland.

Not as bland as the ghastly Sutton Foster but what is?

Floor wax?

Cellophane lint?

Unflavored gum?

SOME?????!!!

Patti Lupone hadn’t acted in decades. She always plays parts the sane way. She attacks songs. She has no nuance, no humor, and some of the shittiest diction in Broadway history. She’s also a grad A cunt. And not in the fun way we revere here at DL.

She’s a miserable pile of gorgon shit.

Sutton sucks.

I saw the CSC "Mother Courage" and it was a congealed mess.

There are many, many directors you shouldn't trust with Brecht, and Brian Kulick is certainly one of them. Tonya Pinkins phoned it in for the most part.

It wasn't "Moose Murders" by a long shot. Just...misguided and dull.

I was not a huge fan of Kelli O’Hara until Bridges. I saw Elena Shaddow at Williamstown, and was expecting O’Hara to be miscast and out of her depth. It was one of the most stunning performances I’ve seen, and I’m eagerly attending the reunion concert in December.

R226, I guess you didn’t see Patti in the recent “Company” revival where she was an energetic part of the ensemble, moving scenery and props with the rest of the (younger) cast, enunciated every word she sang (she took the justified criticisms to heart and improved) and really acted the shit out of “Ladies Who Lunch,” a perfect 11 O’clock number that stopped the show.

They don’t just hand out Tony awards for showing up. She showed up and DELIVERED. More than you can say about some Broadway names.

Jane Krakowski was terrific in Schmigadoon, but it’s a Broadway farce, so there you go.

[quote]They don’t just hand out Tony awards for showing up.

Could have fooled me.

Just heard a preview of Lea Michele‘s “Someone Else’s Story.” Yuck!

R226 LOL

WHO do we revere on DL?

EVERYONE gets trashed.

Well, except for few bland, flavor of the month hunky actors who manage to get thread after thread dedicated to them.

Speaking of Patti (and Company) Ben Lewis who played her husband in the West End has passed away. Very sad.

Kelli O'Hara and Kristin Chenoweth both studied under the same voice teacher at Oklahoma City University. What are the odds that two girls in Oklahoma would emerge as two of Broadway's greatest stars?

[quote] Jane Krakowski seems to only play characters who are selling themselves. I love her, but her characters are always “on”. I don’t remember seeing vulnerability from her ever.

[quote]Then you saw neither Grand Hotel nor Mack and Mabel, [R155].

Are you kidding me? Both of those characters are actors who are constantly “on” the entire show

[quote]EVERYONE gets trashed.

I just spent about 20 posts in the last thread trashing Elaine Stritch.

And I’m glad! Glad! Glad! Glad!

I saw LuPone in COMPANY, R230, and (that night, anyway) it was her at her worst -- fag-hag to the max, not remotely convincing as a woman moving in the "Ladies Who Lunch" circles, crass and broad. Yuck.

r239, I saw her in COMPANY twice and couldn't agree with you more. Every syllable of every lyric was pushed and shrill and her comedy was nowhere to be found. No sense of an upper Eastside matron at all. Her Joanne made Elaine Stritch look elegantly delicate.

I loved Patti in ANYTHING GOES but I haven't enjoyed any of her performances since then.

I’ve seen Patti in

1) Sweeney Todd - Broadway

2) The Anarchist - Yes, with DL Fave Debra Winger

3) War Paint - Chicago

4) War Paint - Broadway

5) Company- Broadway

6) The Roommate - with DL fave Mia Farrow

And Patti delivered what I wanted from her every time!

[quote]And Patti delivered what I wanted from her every time!

Long Island fishwife?

R241, what did she deliver? Was it the, "fag-hag to the max, not remotely convincing as a woman moving in the "Ladies Who Lunch" circles, crass and broad. Yuck.?" or the "Every syllable of every lyric was pushed and shrill and her comedy was nowhere to be found. ?"

I can't imagine Patti being anything BUT those descriptions...

Why does Joanne in Company keep getting older and older? She should be 45 max!

I was supposed to see her the night asked her toilet to vouch for her absence. We had a nice dinner instead, and then saw the show a few months later. The toilet and I got the same show.

[quote]Why does Joanne in Company keep getting older and older? She should be 45 max!

Marking my calendar for 2045.

I saw Patti play the tuba!

R243, by contrast I saw her in Evita and every syllable of every lyric was blurred into the next. As it's sung through, the whole experience was baffling.

r241 - her Helena Rubinstein in Chicago was a complete travesty. That bad accent and rubber-teethed diction needed the Enigma to decode it!

[quote] My god those Reddit posts about the nicest Broadway actors was the most boring thing I've read in years. First of all, it's mostly about stage door encounters, which is not the exactly the most genuine or natural way to spend time with people.

wardrobe girl, r223 there were some very juicy DL threads from yore entitled the nastiest person on Broadway parts 1 and 2.. I couldn't find part one but here is part 2 linked

[quote] Why does Joanne in Company keep getting older and older?

Good question.

Similarly, Stritch's build-up to "I'm Still Here" in AT LIBERTY -- that she was tired of women who sang the song too early -- was ridiculous. The song was written for -- indeed, tailored to -- a woman who wasn't quite 50 when she introduced it, and other celebrated performances of it have included Nancy Walker's (just shy of 51 at the time) and Carol Burnett's (age 52 at the time).

During the lead up to Follies in Concert, Stritch gave an interview and literally said Burnett shouldn’t be singing the song because “What’s she been through?” Stritch was lucky Burnett didn’t have her fired.

R253 = Barbara Cook

Stritch was a miserable lush with little talent who made a career out of yelling to the audience and calling it singing.

She isn’t fit to wipe Carols ass.

She did play Eunice in the Kennedy Center tribute to Burnett and mugged her way through it. Not even attempting to portray the character.

Did someone say toilet??

[quote] My god those Reddit posts about the nicest Broadway actors was the most boring thing I've read in years

A list Patti Lu will never be on......

There's a beat near the end of the FOLLIES IN CONCERT documentary that is probably the greatest thing that Phyllis Newman has ever done -- as everyone in the dressing room is raving about the excitement of the evening, Newman quips, "I have some notes for you, Elaine."

Stritch has a good response ("I've never liked you . . . I've never known you well"). But Newman wins for timing and nerve.

Thanks to whoever linked that former Nastiest People On Broadway thread! Just spent the last hour or so chuckling through it. And I do remember when it was first posted and, of course, recognized several of my own brilliant contributions.

So interesting, especially in the first 200 posts reading all that stuff about off-Broadway, and companies like MTC and Roundabout and actors who are virtually forgotten today but used to be mainstays in NY theatre like Peter Frechette and Danny Gerroll. And all the stuff about Wasserstein, Durang, Innaurato and Greenberg (whose memorial was tonight at The Friedman - thank you Lynne Meadow).

What dull theatre times we live in now. Schmigadoon, anyone?

r299, I think Part 1 was a slightly different title and I can't seem to locate it. I think it might have been deleted because it pissed some people off, BUT OH IT WAS GOOD

The last two times I saw Patti -- Company and the Lezzie Mia Farrow play -- I was impressed because of how "un-Patti" she was. I caught both of them near the middle of their Broadway runs (post-Covid re-openings, of course..)

In Company, I was expecting Patti to chew the scenery and spit it out and, at least the night I saw her, was so impressed by how nuanced, slyly funny and surprisingly complex her performance was. She outclassed every single other cast member in that show by a mile.

And, similarly, wig designs aside, she was not histrionic or over the top when I saw her with Mia. In fact, it was Mia who was giving the more heightened performance and Patti was quite adept at playing more of the straight man to Mia's delightfully kooky roommate.

I don't know if I just lucked out on the nights I happened to catch Patti, but she was stellar both times.

[quote]...enunciated every word she sang (she took the justified criticisms to heart and improved)

If you're implying that Patti LuPone had horrible diction when she was younger but worked on and improved her diction over the years, that's not accurate. The truth is that she has always, to this day, sometimes had perfect diction while singing but at other times her diction has been terrible because of her sometimes extremely weird vocal affectations. No better example of the latter than the way she sang "The Ladies Who Lunch" in the revisal of COMPANY..

James Corden out of Art tonite so if you want to see Art but hate James Corden now would be the time to go.

I saw Goody LuPone with the devil!

[quote]I loved Patti in ANYTHING GOES but I haven't enjoyed any of her performances since then.

Her singing voice took a nosedive after that show. Her vocal tone became darker and abrasive from that point on. Her voice was no longer pleasant to listen to.

I recall Patti missing the performance on the Tuesday night after she won the Tony. I was there. Simard was terrific, though.

Do we need a new Nastiest Person on Broadway thread? Since Part 2 was 14 years ago?

(I can start one, but figured I'd ask for input first.)

This is going back aways, but I just found out that Ricardo Tobia from OBC Pacific Overtures was murdered in Pittsburgh. It sounds like a lovers quarrel with 71 yo Tobia living with 35yo Joseph Martin. Martin shot and stabbed Tobia so severely that his head was almost decapitated. He also shot and cut the throat of his dog. I remembered thinking Tobia had one of the most beautiful voices I'd ever heard in Overtures. Martin eventually pled guilty.

Ugh, that's sad, R268.

Unfortunately Carrick isn't a very nice neighborhood....if it wasn't a lovers' quarrel Tobia probably took the younger guy in - mental issues and/or drug use are very common in that area, sadly.

[quote]I saw Goody LuPone with the devil!

Goody LuPone *is* the devil.

[quote]This is going back aways, but I just found out that Ricardo Tobia was murdered in Pittsburgh.

That seems redundant.

[quote] Do we need a new Nastiest Person on Broadway thread? Since Part 2 was 14 years ago?

Yes, please. Also, if you can link to Part 1 of the old thread, that would be great. I can't find it and I have gossip to add about some of the people and events in that thread

Is this the original thread?

I watched Patti LuPone play point guard for the NY Knicks. She dribbled a lot and wouldn’t pass the ball.

Dislike her as I so often do, I'll gladly concede that it's amazing how strong LuPone's instrument continues to be. I know at one point she worked with the legendary Joan Lader -- whatever she's doing, it's impressive in terms of how robust the sound was for so long. (What she does with it, on the other hand . . .)

Thanks r273, that is the first part. Wow. the level of gossip in that thread is so far above what you can expect on DL today... thanks for posting.

New Nastiest Person on Broadway thread is here:

Speaking of Christian Borle who is mentioned somewhat favorably in that first Nastiest thread, WEHT? He seems to have disappeared since the disaster of Some Like It Hot. Or am I missing something? Is he appearing in those Marvel movies I never watch?

Broadway Box Office:

Speaking of the nastiest people, I spotted La Rudin in the back of the Booth tonight at the first preview of the new Laurie Metcalf vehicle. I guess all is forgiven after that Times article?

R280, why does Rudin's presence at the theater for the show's he's producing necessarily imply that "all is forgiven after that times article?"

For the record, I love Jane Krakowski. Great voice, brilliant comic timing, fantastic stage presence. For years I was perplexed as to why she wasn't more famous. And now that she has fame, I think it is well-deserved.

Is Caissie Levy the new Kelli O'Hara?

How many letters does one need to spell Casey?

Did Jordan Donica finally cut off all those braids to play Joe Hardy?

Yes. He looks a lot like Jere Shea, who turned down playing Joe Hardy to do Passion.

‘Wicked: For Good’ pre-sale pages crash on Fandango and Amazon Prime amid overwhelming demand.

[quote]Yes. He looks a lot like Jere Shea, who turned down playing Joe Hardy to do Passion.

Good point. Donica in DAMN YANKEES does indeed look a lot like Jere Shea, even facially, aside from the haircut. Anyway, praise the Lord that he finally has a normal hairstyle again, at least while he's doing this role. He's a very attractive guy, but some of those hairstyles were way over the top. I can never understand why some people with attractive faces want to take focus from them with ridiculous hair styles.

[quote]I can never understand why some people with attractive faces want to take focus from them with ridiculous hair styles.

To stand out.

I saw Barry Williams play the lead in a Nederlander production of "Promises, Promises" in Birmingham, Michigan. Twice. He was fine. I also saw him in a touring production of "City of Angels." Again, just fine. I guess that's the point of the Barry-bashing.

Jordan did a great job on The Gilded Age last season. He's not only handsome but a very charismatic actor. I think he wore a wig on that show and I just assumed he was wearing one to play Joe Hardy.

Is Jordan gay? Sometimes I think so, other times not. Does anyone know?

R290, Jordan's hair is very short in DAMN YANKEES, so I assume it's his own and not a wig.

I saw Donica in MY FAIR LADY (twice) and CAMELOT, and both times I came away wondering what all the fuss was about. There's a good basic voice there, but the high end of those parts sounded unfocused to me.

I saw him in My Fair Lady, Camelot, and Damn Yankees. Handsome, tall, and good voice. But’s as r293 points out, he uses a breathy pop technique on the higher notes, which is at odds with the music. He also doesn’t really dance, as the tall guy from Hadestown called out in a super bitchy video.

But my biggest gripe with Damn Yankees is Rob McClure. I do not understand why he continues getting lead roles and delivering just OK performances.

Marry me, R294! Rob McClure isn't untalented, but Lord, is he ever Working Hard every time I've seen him. In his rep especially, it's supposed to LOOK effortless.

Just saw a preview showing of the new movie about Lorenz Hart called Blue Moon. Lots of theatre references in it, as expected—but not everything explained for the audience. For example, the kid named Steve following Hammerstein around is, of course, Sondheim but it isn’t explained,

That said, I found it to be way, way too talky (apparently the way Hart actually was). DL fave Andrew Scott plays Richard Rodger wonderfully. The amazing transformation is Ethan Hawke as Hart. His acting is stunning here—never seen him a actor with such complexity,

Overall, however, the movie’s kind of a bore

Everyone knew Larry Hart was gay, but of course for the movie nobody asked for, he’s straight/bi.

Also is Jordan Donica gay?

Donica is VERY straight

I saw Donica in LES MIZ. He was great.

Ethan Hawke is no Mickey Rooney.

Mickey Rooney is no Laraine Day.

R298 I figured as much. Usually if I’m attracted to a Broadway actor, he is straight.

To the poster who saw the Laurie Metcalf play, how was it?

Has no one has seen Saturday Church?

BUT R289, have you seen Barry Williams in Damn Yankees? Do you - and other denizens of DL - think he'd have the magical spark on stage with Donica Jordan?

Could Barry play the coach for the baseball team? Be the judge at the trial?

Could this thread go into meltdown at the idea of Barry and Donica starring in a revival of Take Me Out complete with pictures from the famous shower sequence?

As if.

How is Messy White Gays?

I just don't get Andrew Scott as Richard Rodgers. Seems like he'd be perfect casting for Hart. Maybe they offered it to him and he said nah, but'll I'll play Rodgers.

Jordan Donica is handsome.

And, bland.

Thus: Blandsome.

Stop talking about me...

Jesse Williams comes equipped with his own baseball bat.

And what a fine bat it is. A real slugger.

R304-Yes, we've seen it, but would rather not talk about it. It sure isn't moving to Broadway.

[Quote] I just don't get Andrew Scott as Richard Rodgers. Seems like he'd be perfect casting for Hart. Maybe they offered it to him and he said nah, but'll I'll play Rodgers.

Scott is too handsome and dapper to play Hart. Plus the director (Richard Linklater) works closely with Ethan Hawke on many of his films. Apparent Hawke brought Linklater the script 10 years ago. Linklater said Hawke was too young to play the part and that he should wait 10 years. So, they waited 10 years and then filmed it

[quote]Everyone knew Larry Hart was gay, but of course for the movie nobody asked for, he’s straight/bi.

In other words, nothing has changed since Mickey Rooney played Larry Hart in "Words and Music" in 1948.

What? No intermission comments from anyone who was at the first preview of The Queen of Versailles? Was Mrs. Charlie Kirk there?

I wonder how terrible the Dylan Muvaney “show” is…

Apparently, the definition of a show "extending" its run has changed greatly over the years, and I'm sure this is thanks (or no thanks) in large part to the press agents. In olden days, the word "extended" was used when a show was announced for a limited run with a definite closing date but then the run was extended beyond that date. Now, it seems, a show like JUST IN TIME (for example) is announced for an open-ended run with no specific closing date, and then the word "extended" is used in press releases every time the production puts a new block of tickets on sale for later dates. Does anyone other than me find this annoying and misleading?

R317-About as terrible as her plastic face.

I did see her in Company. She was terrible. A completely phoned in mess of a performance.

R281 I guess because he’s out and about freely in polite society. He was surrounded by a gaggle of gay bros all congratulating him so that screamed “He’s back!”

R301 I loved it but I’m a big Samuel Hunter fan. A few kinks to work out but otherwise, I thought it was a beautiful, albeit quiet, smallish play.

To whom are you referring, r320? Pate?

The real schadenfreude begins Tuesday, when we see how much or how little The Queen of Versailles is grossing.

The BWW chat on QoV is brutal. Unsurprisingly.

Yeah, most shows get enthusiastic reviews on BWW for the first few previews.

CATS: The Jellicle Ball on Broadway

That staircase in QOF is enormous. How on earth will that dwarf manage it eight times a week.

The posters are saying that both Jackie and Cheno gave out McDonalds fries (small) to audience members.

The same way this dwarf managed the one in Sunset Blvd.

I really think Kristin is insulated from how bad this is.

She is surrounded by by dozens of people telling her how fabulous she is.

We need a little Barry, right this very minute.......

Chenoweth has never had to carry a show by herself. We’ll see what we see.

Kristin isn't the problem with the show.

She IS the show. Jesus…catch up.

And Mary Martin WAS Jennie, r334, your point?

My point: she’s the only reason this show is on Broadway. It was tailored just for her.

Live by the sword, die by the sword.

[quote]Kristin isn't the problem with the show.

Kristin isn't the ONLY problem with the show.

[quote]My point: she’s the only reason this show is on Broadway. It was tailored just for her.

As Redwood was for Idina, r336. Redwood didn't flop because of Idina. The only criticisms I've read of QoV deal with the show itself.

[quote]Kristin isn't the ONLY problem with the show.

Explain how Kristin is a problem, r337.

Redwood flopped this fops.

The End. Duh!

Didn’t Queen of Versailles have positive out-of-town notices?

R341, are you joking?

r339 Really? REALLY?

In my opinion, r343, *really*. Kirk is yesterday's news and I think you overestimate the ticket buyers who are going to even be aware of her tweet.

It’s not the politics. You’re all nuts.

It’s a plain, old-fashioned, Bway shitshow. Too funny.

Kristin pretty much "carried" The Apple Tree and On the 20th Century. I believe she was Tony-nominated for both.

And both made not a nickel nor a dime

R346 she was famously snubbed for The Apple Tree and complained about her snub bitterly in her memoirs

[quote]she was famously snubbed for The Apple Tree and complained about her snub bitterly in her memoirs

Who likes being snubbed, r348? Particularly "famously snubbed".

[quote]The Roundabout Theatre Company mounted a revival that ran from December 14, 2006, until March 11, 2007, at Studio 54 with Kristin Chenoweth in Harris' roles, Brian D'Arcy James in Alda's roles, Marc Kudisch in Blyden's and Alda's recorded voice portraying God. The consensus of reviews was that the playlets themselves were showing their age, the music was interesting but not inspired, and Chenoweth's performance was the evening's significant attraction.

In other words, she "carried" the show ^^^^^^^^^^^^^^^^^^^^ !!!

Saw it at Encores with Malcolm Getz and Michael Cerveris. It was pretty forgettable, and she was just okay, but then, I saw Barbara Harris.

R350 and then the murders began…

Kristin Chenoweth was given a big push by Rosie when she was in the Charlie Brown musical. Rosie raved about her for weeks on end like she was the second coming of Streisand in Funny Girl. She had the cast perform on her show and she might have even had Kristin on by herself at one point. I do believe all that exposure helped her to get the Tony that year.

I always wondered if Rosie was infatuated with Cheno's talent or Cheno herself?

[quote] I do believe all that exposure helped her to get the Tony that year.

I don't, r342, her win wasn't a surprise. She stole that show...what there was of it to steal.

^ r354

She was a one hit wonder…like a large number of featured winners. No staying power as a star.

Zzzz. Bleech—Versailles will die on the vine.

Rosie definitely has a type for infatuations

[quote]I do believe all that exposure helped her to get the Tony that year.

She didn't have much competition that year:

Greta Boston, Ain't Nothin' But The Blues

Valarie Pettiford, Fosse

Mary Testa, On the Town

Nicole Scherzinger is performing a concert at Royal Albert Hall tonite. A fan posted on Instagram that the concert started an hour late, she sang for 25 mins and intermission is currently 30 mins and counting. How unprofessional!

[quote]Nicole Scherzinger is performing a concert at Royal Albert Hall tonite. A fan posted on Instagram that the concert started an hour late, she sang for 25 mins and intermission is currently 30 mins and counting. How unprofessional! —Judy Garland

At least she didn't make the audience sing her signature song like you did Judy.

Sing the damn song, Judy!

Tonight.

I never miss a Valarie Pettiford show!

Kristin Chenoweth in "Tony and Tina's Wedding"

Kristin Chenoweth in "Nunsense!"

They’re holding out for her to revive Beach Blanket Babylon in the City!

If Queen of Versailles doesn't work out for Kristin, maybe an evening of duets with Barry Williams at 54 Below will spark interest! If not in NYC, perhaps downtown Branson, MO has a cabaret/all you can eat buffet!

Mary Martin and John Raitt in "Annie Get Your Gun," from an ABC Stage '67 telecast.

"Who likes being snubbed, [R348]? Particularly 'famously snubbed?'"

At least you weren't EGREGIOUSLY overlooked!

[quote]At least you weren't EGREGIOUSLY overlooked!

Well, *you* weren't, Julie, put down the cross.

I agree with whomever wrote that Kristin is surrounded by handlers who never tell her the truth. The reality tether snapped with her years ago....And the comparison of. "VERSAILLES" to "JENNIE" is perfect. I've been using "DEAR WORLD" and "THE VAMP" but I will convert.

Whatever happened to experienced producers who knew when a show wasn't fixable?

What happened to creative geniuses who could fix a show.

I know a dentist in Brooklyn that really helped with THE MIDAS TOUCH.

The mighty, mighty Midas Touch, r374?

Carol Channing kept The Vamp open through the holidays and paid for it so the cast wouldn't be out of work at Christmas. THAT's a star.

*

[quote]What happened to creative geniuses who could fix a show.

I’m a person who can see a show and determine very quickly what’s not working.

I remember years ago seeing a preview of Nick & Nora and saying, “It’s not going to work”. I went back to a preview two days before opening where they had made some casting changes and rewritten some songs and again I said, “It’s not going to work.” The main reason it didn’t work was because they pitted Nick and Nora against each other and that was never the way they were originally portrayed. They were always a madcap team.

Hire me, I work cheap.

R378, you could have been the most brilliant dramaturg ever put on this earth, and Arthur Laurents still wouldn't have listened to you.

I've always wondered whether Charles Strouse's story about their first N&N meeting was true.

What was the story, R379?

So much talent on that stage...to no avail.

I know from experience that it's very easy to see a show in previews and provide a very intelligent list of what's wrong. But it takes a very singular talent to really know how to fix the issues. This is why we don't really have "show doctors" anymore.

Everyone's a critic but few are truly creators.

With the amount of money it takes to get a show into rehearsal these days, I can see why producers are loathe to cut and run. As for show doctors, I'm like R378 -when seeing a new work I can usually spot the trouble areas right away. And, as was pointed out -the creators seldom want to hear it.

When Zhivago was in development I was invited to a cast party after a performance, and was chatting with a woman who asked me what I thought. I told her the opening number was disastrously wrong for the show, and that one of the major ballads was misplaced in the book, which was undercutting both scene and song. She raised her eyebrows and asked me for more details. I told her that the opening number (as it was then) was about life in Russia, when it should be about the title character. The book never adequately told us who he was, or how he was torn between his poet's soul and his duty to become a successful physician -so he remained a cipher for the entire evening. The audience didn't care about him. And the ballad came at a moment in the story when the lovers are in a hospital about to be overrun by enemy soldiers at any moment, yet they stop in order to reflect on the nature of love and sing a very long song. Then, when the last note is sung, they instantly panic, grab their stuff, and run. I said it could be fixed so easily by simply moving the song up just a few lines, so that the song ends and then the messenger comes to warn them of the approaching army.

Turns out the woman I was talking to was the show's lyricist. She said they were working on a new opening number. But the replacement opener was still not what was needed. Later, when the show finally opened on Broadway, the reviewers pointed out the exact same problem with the show's opening -and one even mentioned how ludicrous the transition out of that song was. I later found out from a friend in the cast that the lyricist had totally dismissed my suggestions because, after all, who was I? Clearly the creative team knew best...

r383, those are the sorts of issues that should have been caught early on in the process. Somebody wasn't listening going way back.

So when Queen closes where does Kristin point fingers?

Stephen Schwartz? Michael Arden? CK? Idina?

Is Michael Urie the gayest Richard II?

R383 do you remember at what point in Zhivago's 20 years of development that was? If that show had anything, it had time to get it right! They can't say they weren't told.

Money couldn't solve that show's core problems, which were so bad that money couldn't even hide them.

I don't see how Nick & Nora could have ever worked. People love them because they're charming. It's hard to make a stage musical only based on that. No one really watches the Thin Man movies for the convoluted plots...it's just to see Powell and Loy be adorable and drink a lot. Oh, and Asta.

[quote] If that show had anything, it had time to get it right.

It doesn’t exactly work like that. The longer people work on a show, the less likely they’re going to be able to see what the problems are. They’ll make a very small change, but it seems gigantic because they’re so familiar with the piece.

Maybe somebody else can name one, but I’m not aware of a hit musical with an extended development period of more than 10 years.

Patti performed at the Les Miz 40th anniversary performance.

R387, this was after the original page-to-stage workshop at the La Jolla Playhouse -or after the first full production there the following year. I can't remember, as I saw both versions (had friends in both casts). The show had a lot of promise, but it seemed like the creative team were willfully ignoring the main problem, which was Yuri Zhivago himself. His love for two different women is a manifestation of his dual pull toward being a responsible, tradition son and doctor, and being a free-spirited poet of the people. But audiences never read the book, and most are too young to ever have seen the film -the the play simply never explained what was going on. Reviewer after reviewer complained that the main character wasn't fleshed out, that he was a cipher. Everyone seemed to blame the actor(s) rather than the (lack of) writing... The show needed a solo opening number for Yuri where he told us who he was, and how he was torn between two future lives. Then we might have cared about him and his choices. Instead, they gave us at least three different traditional chorus openings a la Les Mis. The creative team admitted they needed to fix the opening -but seemed incapable of seeing what the actual problem was.

Adapting a classic novel is a huge challenge. Sometimes you get it right (Les Miserables, Mystery of Drood), or almost right (Jane Eyre). And sometimes you go woefully astray (pretty much every version of Dracula). Zhivago had some beautiful music, but it couldn't get the audience to care about the characters because it assumed we already knew them -a fatal mistake.

[quote]Patti performed at the Les Miz 40th anniversary performance.

Finally! In the original, she was either hiding from the director to avoid chorus work, smoking in her dressing room or missing her cue.

[quote]or almost right (Jane Eyre)

What was the problem, r391? A friend really liked it.

I’ll go see Versailles just for Kristen, but I’ll wait for the inevitable deep discounts

Oh, you mean next week, r394?

I can't even remember who played Zhivago in the musical.

Adapting that book as a Broadway musical is just so wrong-headed. Even if it were better, I can't imagine it ever captivating audiences.

DR. ZHIVAGO........aka GENTLEMEN PREFER BLONDES

Personally, I loved Jane Eyre, and thought it was a brilliant adaptation, It did fail on Broadway, though, so I count it as "almost."

I've heard from insiders that Sherie Rene Scott is all rehearsed and primed to take over for Kristin in Versailles. The producers didn't want get caught in another "Beanie" situation. Anyone who was at the first preview of Versailles may have heard that " the star of the show' was feeling poorly and it showed. The beginning of the end. Kristin will be out before opening night. A TV series awaits her.

WOWWWWWWWWWWWW ^^^^^^^^^^^^^^ now that Theatre Gossip.

[quote]I've heard from insiders that Sherie Rene Scott is all rehearsed and primed to take over for Kristin in Versailles. The producers didn't want get caught in another "Beanie" situation

Which also means they didn't want to hire a racist cunt to replace the lead either.

I like Sherie, she's original, which is more than you can say for Wigshitter.

Has Dopey opened in Chess yet?

Playing a mistress. Who did the casting, Stevie Wonder?

Patti is doing a new show with Bridgette Mendler and written by Marc Shamain.

[quote]It doesn’t exactly work like that. The longer people work on a show, the less likely they’re going to be able to see what the problems are. They’ll make a very small change, but it seems gigantic because they’re so familiar with the piece.

You nailed it, r389. I have seen this so many times. Tunnel vision. Two admittedly niche examples: [titleofshow] and Schlomo (the Musical?) I mean, nothing would have made either a long-running hit, but they weren't willing to change anything. See also: the A Chorus Line revival. Breglio, Avian, and Baayork made it museum piece - until Mario Lopez came in. Then they changed everything, but not in good way.

R380, IIRC, when Strouse went (with Maltby?) to Laurents' Long Island home, his host answered the door laughing (and still on the phone, maybe?). When asked what was so funny, he said, "Oh, I just heard that Tony Perkins has AIDS."

I'm sure it was a Mary at Chuckles' funeral type of situation, r405.

R405 - Jesus Christ! Arthur, Arthur, Arthur....

Nymph Errant

For r408 ^

The cast for the 1989 concert production of Nymph Errant at London's Theatre Royal, Drury Lane included Kaye Ballard, Lisa Kirk, Maureen McGovern, and Patricia Hodge. Other featured performers were Alexis Smith, Elisabeth Welch, Andrea McArdle, Liliane Montevecchi, Larry Kert, Patrice Munsel, Virginia McKenna, and Derek Waring.

Kaye Ballard: Performed the song "Cazanova".

Lisa Kirk: Performed the song "The Physician".

Maureen McGovern: Performed the song "It's Bad for Me".

Patricia Hodge: Performed the song "Experiment".

Alexis Smith: Performed the song "Cocotte".

Andrea McArdle: Performed the song "Georgia Sand".

Elisabeth Welch: Performed the song "Solomon".

Liliane Montevecchi: Performed the song "Si Vous Aimez les Poitrines".

Larry Kert: Performed "Back to Nature with You," "You're Too Far Away," and "My Louisa".

Patrice Munsel: Performed "Back to Nature with You".

Oh God, the kids on All That Insanity have lost it over "Versailles". One of them is actually claiming to be a show doctor who has influenced "many" musicals....Jesus I hate the internet.

R405, I think Sondheim used to tell that story, except with himself being the one on the phone with Laurents.

I’ve worked on shows out of town, and often the attitude is, “they might not be like it Boston, but the sophisticated New York audience will love it!”

Having seen Versailles in Boston, I can testify that Kristin isn’t the problem. she was on stage almost constantly, and she was always excellent. But there were other problems, that apparently have not been fixed. I’m a little surprised, Michael Arden is a very smart boy.

Is the song about the death of a hamster still in TQoV?

Chenoweth is a cunt

What this thread needs is Ken - Ken Mandelbaum! He could tell DL what's wrong with any musical!

I own a copy of "Not Since Carrie" - it's quite good.

[quote]I don't see how Nick & Nora could have ever worked. People love them because they're charming. It's hard to make a stage musical only based on that. No one really watches the Thin Man movies for the convoluted plots...it's just to see Powell and Loy be adorable and drink a lot. Oh, and Asta.

You are partially right. One thing that slowed down N&N was replaying the murder scene over and over. And the cast was too big - too many storylines to remember.

But I disagree that it could never work. Beautiful charming people in an Art Deco setting solving a simple murder would work. Think of it as a classier The Mystery of Drood.

Go back to the all-important question, though--did it need to be a musical? Strikes me Nick and Nora Charles have little need to soliloquize, and there's no conflict between them to resolve in song.

Wouldn't it have been pacier and more in line with the original's quick wit just to have staged it as a comic play? Coward with American accents?

I always felt that Nick and Nora could have worked if it was a fun contest between them to solve the murder, and there wasn't any problem between them, that they were always a team, and joint protagonists.

[quote]Go back to the all-important question, though--did it need to be a musical? Strikes me Nick and Nora Charles have little need to soliloquize, and there's no conflict between them to resolve in song.

I know that people who think they know what they're talking about always used that "it didn't need to be a musical" argument, but if you follow that through, some of the greatest musicals based on pre-existing source material would never have been written. As for NICK AND NORA, there's no reason why those characters had to have soliloquys -- there are lots of musicals in which there are few if any soliloquys -- and the conflict in the show did not need to be between Nick and Nora.

[quote]Go back to the all-important question, though--did it need to be a musical?

I think it would be a lot of fun if Nick and Nora had songs in the style of “I Wish I Were In Love Again” songs that are both witty and catchy.

In one of the later movies, (I hope I’m remembering this correctly) they introduce Nora’s mother who is a constant thorn in Nick’s side. They could have introduced a lot of comic conflict with the snooty battle axe mother character. “Darling, why did you ever marry Nickle-Ass?”

The murder mystery would do the heavy lifting. Think 1930s NYC, a blonde party girl murdered in a politician’s hotel room. An intimidating police chief, a Thelma Ritter type hotel maid (who turns out to be the party girl’s birth mother). Endless possibilities.

How do you know Patti LuPone is at your front door?

She can't find her key and she doesn't know when to come in.

R422, that is HIGH-larious.

[quote]A TV series awaits her.

Not on NBC!

The national tour of Stereophonic opened here in Seattle this week.

It was a rough go for me. I'm fascinated by the idea of it; eavesdropping on the drama of making a classic rock album but because it's such an intimate story, it really gets lost in a cavernous 2k seat old theater...with lousy acoustics.

And, the meh songs don't help....you keep wanting to hear the actual great Fleetwood Mac songs but have to settle for bland wannabes.

It worked on Bway

Sorry to hear, R425. That does sound like WAY too big a theater for a show like this.

I thought STEREOPHONIC was great off and on Broadway, a great theatrical experience.

And I liked the songs, thought they were credible folk-rock pastiche from the ‘70s.

Saw Kiss of the Spiderwoman today. Never saw the stage production and I'm not a fan of JLo but a friend wanted to see it. Didn't read any reviews. Loved it. The musical numbers brought me back to those MGM musicals. There's even a Funny Face type dance number in a dark room. The male leads were perfect. And JLo blew me away. Looked gorgeous, danced like Cyd Charisse and singing, whether enhanced or not, was terrific. Could maybe trim 10 minutes off the running time but if you're looking to escape reality for two hours go see it. Theatre was pretty empty so it might end up on HBO sooner rather than later.

[quote]but if you're looking to escape reality for two hours go see it.

I would, r429, if it was two hours of escaping reality. But half the movie is bleak reality that I don't want to sit through. I'll just watch clips of the film within the film.

Whatever happened to Audra McDonald's production of "Kiss of the Spider Woman?"

[quote]Whatever happened to Audra McDonald's production of "Kiss of the Spider Woman?"

Everyone decided she didn't have the right voice type.

Broadway doesn't go for a tap dancing Aurora.

R432 I wish Gavin Creel had talked her out of Gypsy too!

What would Audra play in Kiss of the Spider Woman?

The jail cell?

[quote]What would Audra play in Kiss of the Spider Woman?

Molina's mother.

Mama, it's me! I'm coming to get you!

NYC Opera's "A Little Night Music." (1990)

Haven't done this in a while ...

MONDAY -- Keanu Reeves and Alex Winter are promoting Waiting for Godot on The Late Show With Stephen Colbert

TUESDAY -- Eric Williams (Waiting for Godot, formerly MJ) is on Tamron Hall; Wayne Brady is promoting Moulin Rouge! on Sherri

FRIDAY -- Kristin Chenoweth is promoting The Queen of Versailles on Good Morning America; Mira Sorvino is promoting Chicago on Sherri

I think it’s a pretty safe bet that JLo’s voice is “enhanced.”

*Everybody's* voice is enhanced.

I loved “Kiss of the Spider Woman” too. Bill Condon, who wrote and directed it, doesn’t cheat or soft pedal the gay stuff which makes it feel current rather than past its prime. The young guy in it, Tonatiuh, is excellent, a real find.

I don’t love Jennifer Lopez and I don’t think the blond hair in the film-within-a-film particularly flatters her, but her face and body look fantastic, and she’s wonderful in the numbers, which are fun and/or exciting. I thoroughly enjoyed it, a pleasant surprise.

A Little Night Music Special with Judi Dench (1995)

Who wants to bet that Kristin cancels on Good Morning America. She knows she's hit an iceberg.

[quote]I don't see how Nick & Nora could have ever worked...

Especially with the opening number "Is There Anything Better Than Dancing?"! I wanted to yell, "Yeah, anything other than this number!"

Nothing about the song gave us any hints as to who or even where Nick & Nora were or what the story would be about. Let's just say it was no "Christopher Street, "Comedy Tonight", or "Tradition"! Plus, it's a lousy song. and this was after almost two months of previews!

The friend I was with said it "Jump stopped the show and now it needs a jump start". The rest was a dreary convoluted mess too. Joanna Gleason, fresh of her insanely touching Tony Award-winning performance in "Into the Woods" never lost her deer-in-the-headlights affect all evening. It was as if she'd never been in a play before.

[quote]A TV series awaits her.

If Kristen had a tv show waiting for her she wouldn't be doing this dopey show! She hasn't been the star of a tv series in over a decade! Did you think tv producers were just holding back waiting for just the right moment, while this teeny, shriveled, giant fore-headed actress got younger as the years passed?

Joanna Gleason was perfect casting for Nora at the time.

She brought such a sly, stylish comic touch to the Baker's Wife (getting applause for lines like "Oh, I pulled it from a maiden in a tower") that seemed totally fresh and has never been matched, even though Into the Woods has been done a million times.

It sucks N&N was such a botch.

One good thing came out of Nick & Nora: Joanna met Chris Sarandon.

And it also put Faith Prince, who is hilarious on the recording, on the radar. The NYT:

[quote] A third supporting actress, Faith Prince, fares far better in the role of the evening's ubiquitous murder victim, Lorraine, a platinum-wigged film-industry bookkeeper who, among other attacks on her dubious character, is accused of trying to "play Barbara Stanwyck with Jean Harlow hair." Though Lorraine is already dead when the show begins, she keeps popping up again and again as her murder is re-enacted in repeated flashbacks to the scene and night of the crime. The dizzy Ms. Prince not only takes a mean pratfall each time the gunshots ring out but also brings a brash, belting delivery to "Men," a musical diatribe that almost does to its satirical target what Miss Hannigan did to "Little Girls" in Mr. Strouse's "Annie."

[quote] We can look forward to hearing a lot more from Ms. Prince. In the meantime, there is no escaping the unfortunate fact that the liveliest thing in "Nick and Nora" is a corpse.

With a cast that included Debra Monk and Christine Baranski as well as Gleason. The next year, she won her Tony for Guys and Dolls.

[quote]It worked on Bway

I saw it at Playwrights and the intimate performances were flawless. I had friends who saw it on Broadway (with balcony seats) and said they coudln't hear anything.

If they've booked this play in gigantic tour houses they're truly fucked. This play and production have no business trying to connect to audiences in a barn.

Your friends…well, bless their hearts.

With Audra it would have been more like KISS OFF THE SPIDER WOMAN.

1. Saw STEREOPHONIC in previews when it was at Playwrights Horizons. Incredible. I don't know how the show would fare in a huge space though.

2. Saw KISS OF THE SPIDER WOMAN on Thursday night. Not perfect, but damn, did I enjoy it. The numbers are fabulous. I actually find myself wanting to go again, which is odd, and not something I do regularly. Bummed that the film is tanking at the box office. It deserves better.

Saw Little Bear Ridge Road this afternoon. Hunter is a superb playwright and teaming with Metcalf, Stock, and Mantello makes for a deeply moving (and entertaining) experience. Loved it.

Stock is a revelation in this. Wasn't prepared for how beautifully he and Metcalf play off each other.

Is there an actual Kiss of the Spider WOman thread?

The latest and most active thread is called: BREAKING NEWS: "Kiss of the Spider Woman" & JLo are box office poison

I saw the play at Steppenwolf. Metcalf was quite good. I understand no tickets are being sold, so not sure how long this runs?

Depends on the reviews. Title is meh, but she's a draw. Not surprised about Stock. He was so good in It's Only a Play. (He's certainly put on the poundage. He's nearing Bear territory.)

Micah Stock and Jonny Orsini....weren't they both Jack O'Brien discoveries?

[quote]*Everybody's* voice is enhanced.

Not mine, R440.

[quote]Micah Stock and Jonny Orsini....weren't they both Jack O'Brien discoveries?

And they both did full frontal. Orsini showed off in "The Nance," and Micah Stock showed his girthy dick in that Tales of the City sequel.

What TALES OF THE CITY sequel?

What happened to Johnny Orsini?

“No offense to the von Trapps but if I go to a lavish party and seven kids just start singing about how they have to go to bed, I’m using that time to refill my drink”

😂😂😂😂😂

holy shit, just got fed a "versailles" promo on Insta, and Cheno has the nerve to compare the role to Mama Rose after "seeing Audra in Gypsy." She goes on to blather how they're both "complex characters." Jackie Siegel isn't complex. She's a standard deluded Maga narcissist.

Jesus, does anyone involved in this show actually think?

R457-With Barry Diller and Scott Rudin producing, I think they're going to pull out all the stops to support and promote this piece. It certainly deserves to be supported.

I also saw Little Bear Ridge Road; it was my favorite night of theater in years. Metcalf and Stock are superb and deserve Tony nominations.

Could anyone who's seen it give us just a one or two line description of Little Bear Ridge Road? No spoilers, of course.

TIA!

Family drama.

And then the murders began.

Aunt is dying of cancer. Nephew, gay and a loser mess, comes back to a midwest? town.... Insurance issues, parents did not love me, aunt watching shows about aliens....

Well that's about as reductive a synopsis of that play as could be imagined. Guess you were trying to be funny.

R471 I’m not R470, but that’s pretty much the play without spoilers. I saw it last week and loved it.

Metcalf is wonderful as always, but in many ways it’s Micah Stock’s play. And he has reached bear status.

Leland...forever gamine.

Stock wasn't bearish in English Teacher on FX/Hulu (S2, ep 3). It was the best episode of the season, and he was the best/funniest thing in it.

He was definitely in bear territory on that episode, compared to how he used to look. He gave a great, razor-sharp performance and was attractive (in my book). I didn’t recognize him, so I looked him up and realized I had tickets to see him in a few weeks.

r470, if you think the play is set in the Midwest, you weren't paying attention.

[quote]Holy shit, just got fed a "versailles" promo on Insta, and Cheno has the nerve to compare the role to Mama Rose after "seeing Audra in Gypsy." She goes on to blather how they're both "complex characters."

If she actually said that, it's proof that her PR team is incompetent and/or has no control over her.

OMG! Didn't realize that was Micah Stock on English Teacher. He was hilarious.

Strike?

Not one in-depth review of TQoV here yet? For Shame.

Some of us are waiting for a Sherie Renee Scott performance.

[quote]Playbill: Layton Williams and George Blagden to Star in U.K. Kiss of the Spider Woman Revival

That's all well and good, but what about Barry Williams?

r482 He's too old for Aurora.

One more reminder: tomorrow is the day where we'll get an idea of how Queen of Versailles will do, box office wise.

The critics will love it and suddenly so will we

I think it won’t get slammed by the critics, in fact, I bet a lot of them will be mixed to positive.

[quote]I think it won’t get slammed by the critics, in fact, I bet a lot of them will be mixed to positive.

What's your basis for that prediction?

Where are the Bull Durham reviews??

Cheno will get high praise and that will dominate the reviews.

Let’s see if her name alone (and Schwartz’s first musical since Wicked!) will spark sales

The other challenge Versailles is facing is the word of mouth out of Boston last summer was lukewarm at best. Decades ago, you could sort of contain that, but in the age of soclal media and Reddit, it's a direct hit to ticket sales. Smart theater goers are waiting for Broadway word of mouth or reviews. If Boston had gotten a better reception, the advance would be stronger. Same thing happens with everything coming out of Chicago.

Sam Hunter famously only sets his plays in Idaho, his home state.

Romance/Romance

thank you R492, talk about a throwback for the A&E channel! Ah, yes, I remember it well...

STRIKE! STRIKE! STRIKE!

Strike by Nov.1, settled by Thanksgiving week. Just follow the money...

As seen on social media in the wake of Diane Keaton's passing.

Someone did NOT think Hair was a part of the legitimate theater!

Didn't Diane also play Sheila and created some publicity when she refused to go naked onstage?

Yes, r497.

"This musical based on an 80's movie opens in a few months, or at least it is supposed to. Half the cast are hooking up and apparently one of the couples already split and one of the couple posted sex videos and naked photos of the pair together and solo to the cast group chat. Now, there is a war between the cast. It is nuts."

[quote]This musical based on an 80's movie opens in a few months

Koyaanisqatsi!

What is the musical, r499? We promise we won't tell anyone else.

The Lost Boys, R499?

It's Barbra and Sydney all over again, r499.

R484: Grosses are out. Looks like it’s off to a solid start. Liberation and Little Bear Ridge, however, look DOA.

Bull Durham, r499?

Hamilton top price is $1500.... I really do not understand paying that much for a show that you can watch on streaming. I know it has Odom Jr....but still.

So does the streaming Hamilton.

What was going on last week to warrant that $$$$$$$ box office? Every single show saw an increase except for Waiting For Godot.

Watch out, Sam Beckett!

THIS DAY IN BROADWAY HISTORY: In 1987, "Burn This" opened at the Plymouth Theatre.

Broadway Box Office:

It was a holiday week -- lots of tourists in town and packed theaters all weekend.

And Cheno starting out strong...

Someone who saw the invited dress of Chess posted on Threads that they were shattered. Posted a curtain call pic. Everyone in black made it look like a staged concert.

If you're at an invited dress, you're hardly impartial...

And Broadway audiences now love nothing more than to rave about flashy, empty, star-driven events.

And every single one of these shows received a screaming SO.

"Shattered" can mean many things.

Yeah, I assumed "shattered" meant something like "I can't," as in the Rolling Stones song, because even a great production of "Chess" is not going to leave the audience sobbing in the aisles I don't think.

Some people are easily shattered.

Maybe "shittered" would have been more appropriate.

The curtain call looks as it has been staged at the TWA terminal in JFK around the 70's.

In a British parlance, to be shattered means to be very tired.

I, too, find Chess exhausting.

[quote] Maybe "shittered" would have been more appropriate.

Especially with Shitwigler herself playing a role.

I am not associated with the production but a friend invited me to dress rehearsal of Chess. I kinda loved it. I know purists will probably hate the new book but I thought it made a lot of sense - this was not a show I ever liked before because I couldn’t follow a lot of the geo political stuff but it’s made really understandable. And the men were spectacular. Aaron Tveit is surprisingly great—not just the singing. Bruce Pinkham was fantastic as well. And I can’t say enough about Nicholas Christopher. What a talent. The show does need work—tightening up as it was almost three hours and some of it felt underrehearsed— but I enjoyed it quite a bit. Lea was fine and got the job done as well.

[quote]Bruce Pinkham

BRYCE

[quote]Lea was fine and got the job done as well.

It's not enough to be simply "fine" when you're following in Elaine Paige's footsteps. Show us those chops or get the fuck off that stage because you have no damn business tackling something of this depth if you're all going to give us is simply getting the job done.

I've heard gossip about this revival. Medium talent comes to mind.

R525. She was fine, she was really good. I don't know the show and have listened to the cast album maybe once before, though I knew the Bangkok song. Don't know Elaine Page's performance. I suspect they are going after younger fans who will think Lea is fantastic and don't have a history with the show. And even if she's not as good as the legendary actress that originated the part, there's enough in the show that IS great without that one performance. I don't go in expecting shows to be perfect. There was enough in Gypsy for me to like despite Joy Woods' performance.

THIS DAY IN BROADWAY HISTORY: In 1981, a revival of "Candida" opened at the Circle in the Square Theatre.

*

Paige’s voice shimmers like a wind chime on a breezy morning.

Lea is shrill and pitchy.

It’s not even a contest.

Film version...

r523, is the show basically performed as a concert? From the curtain call clip I saw on Insta it looks that way with everyone in black and grey formal wear in a very presentational concert hall sort of setting.

Are there actual costumes with changes for scenes? Set pieces? Props? Is there any choreography? How is "...Bangkok" staged?

So, two new plays opening (Liberation and Punch) and not one word on here about either of them.

[quote]Paige’s voice shimmers like a wind chime on a breezy morning.

Who?

SPIDER WOMAN 1990 Cut/Restored songs

[quote]So, two new plays opening (Liberation and Punch) and not one word on here about either of them.

So like, plays are those things where people do stuff on stage but there's no showtunes, right?

R531 -It’s definitely been given the “Chicago” treatment but I thought that was smart - no clunky scene changes, just allowed the action to move quickly. There is choreography, I’ll admit, not my favorite. Bangkok is a full production number and quite hilarious and clever. They change costumes but minimally. It didn’t feel like it wasn’t a full musical but maybe because I’ve been accustomed to the Jamie Lloyd stripped down shows? I didn’t miss anything, except maybe an actual chess board.

[quote]THIS DAY IN BROADWAY HISTORY: In 1981, a revival of "Candida" opened at the Circle in the Square Theatre.

The title song was a hit!

It's a Bird.....was taped for ABC Entertainment in the 70s. What can I say? It's horrible but at least Linda Lavin isn't in it.

Welp, if the musicians go on strike, Kristi Dawn won’t have to worry about half empty theaters, now, will she!

[quote]Welp, if the musicians go on strike, Kristi Dawn won’t have to worry about half empty theaters, now, will she!

She'll be at the pickets, handing out a small McDonald's fry to each striker.

Theater people have notoriously awful taste and they ALL call Chess "a dream show".

I saw the original Broadway production, and that was plenty of maudlin, 80s power ballads for this lifetime! Miraculously, those enamored with this show LOVE all the bombastic songs! Yuck. Not me.

Chess is the kind of show people like who like that kind of show.

I love our “This Day in History” contributor and thank you for your service.

That overwrought clip at R533 doesn't bode well for this clunker of a show. Looks dreary, dearie.

Does Anthem make sense in this production of Chess? The song never made any sense.

Tony winner Robert Preston’s greatest hit. Never understood why it didn’t win a Grammy.

Audiences are going to get really tired of spending hundreds for a show with no set. With that curtain call of "CHESS" the stage looks abysmal.

Saw an off Broadway revival of Chess back in the early 90s and it was great. Kathleen Rowe McAllen was Florence and Ray Walker was Freddie and I was so glad they gave Someone Else's Story to Svetlana. I don't remember alot of dialogue. I think most of it was sung. Hated the overblown Broadway production with the ugly sets.

Saw Queen of Versailles last night.

Sat rear orchestra, orchestra almost completely full but heavily papered, and watched scores of people (over fifty) streaming out during the curtain call, and not applauding, just heading for the exit as fast as they could. The applause could barely be sustained to last through the entire bows. Each and every member of the company gets a solo bow, which made it seem endless. And since the cast (other than KC) are all costumed in French Revolutionary costumes (including F. Murray Abraham, the daughter, the niece, and the Filipino housekeeper… why?), it was confusing. The dog gets the final bow. Evidently they’ve put in 8 minutes of cuts in the last two days. The cast seemed low energy, probably due to rehearsing changes all day. Kristin made several fumbles on the rewrites and Abraham seemed to be adlibbing at one point. We started at 7:37 and was out on 44th Street by 10:18.

Audience response in general tepid. Audible gasps and groans when the daughter’s diary was shilled at a fundraiser. Not a happy evening in the theatre.

I saw a semi-staged concert presentation of "Chess" at the Kennedy Center in 2018, part of the KC's Broadway Center Stage series. It starred Raúl Esparza, Ramin Karimloo, Ruthie Ann Miles and DL fave Karen Olivo. It had a revised book, but I don't know whether it was the same revised book being used for the current production. I enjoyed a lot of the score, but I found the book uninvolving.

[quote]The cast seemed low energy, probably due to rehearsing changes all day.

Coupled with the fact that they clearly know they are in an epic flop.

I never miss an F. Murray Abraham musical flop.

R549, same team. Broadway book is based on KC version.

F. Murray Abraham gave a wonderful performance in KRAPP'S LAST TAPE at the Irish Rep in the Spring. I'm sure the pay on Broadway is better, but it was refreshing to be reminded of what a great actor he can be when he's in an actual play.

[quote]—A swinging patio number might help.

Oh dear.

[quote]Theater people have notoriously awful taste and they ALL call Chess "a dream show". I saw the original Broadway production, and that was plenty of maudlin, 80s power ballads for this lifetime! Miraculously, those enamored with this show LOVE all the bombastic songs! Yuck. Not me.

CHESS has a great score overall -- some of the lyrics are less than wonderful, but the music is unfailingly fantastic. And actually, very few songs in it could be qualified as "bombastic," so that comment is inaccurate.

[quote]Does Anthem make sense in this production of Chess? The song never made any sense.

Although one or two lines in "Anthem" are a bit confusing, as is Tim Rice's wont, overall the song is clearly about the fact that Anatoly loves his home country of Russia even though he's defecting from it. What is it about the song that you don't get?

DEADLINE:

Wicked: For Good works for good on so many levels. It’s gloriously, deliciously good. Some might even argue that it’s a tighter, more thrilling, more exciting film than Wicked.

Yes, it’s romantic, yes, it’s a musical and yes it’s a thriller. Boy, does it thrill. It’s a marvelous piece of cinematic art. The joys are, to steal a line from a song, unlimited.

Watching Wicked: For Good with an audience, I could feel the movie binding us, as all great films can- and should.

Chu and his artists have breathed life into it. Even more so for Wicked: For Good. It’s how I felt when I saw The Godfather: Part Two. That was a masterpiece too.

Bleech.

Yes, r555, let me make it easier for you.

My taste doesn't match your crappy taste. Did you see the 1988 production? I did and can still remember a number of BOMBASTIC shitty songs. I'm glad they still dazzle you. Now go put on one of your Les Miz t-shirts and pore over your Playbill collection again.

Andrea Martin will be Madame Arcati in Encores High Spirits.

And Katrina as Elvira. Both good casting.

[quote]What is it about the song that you don't get?

Only the beginning, the middle and the end.

If the song is about love of country (which I can see) then why does the song end “My land's only borders lie around my heart.” It sounds like he just undid all that he just sang about. I’m being honest, I don’t understand the ending.

Apologies, R554. I thought that "swinging' was wrong but I couldn't be bothered to Google.

Mea culpa.

What would you have Googled, r563?

Why does Lea Salonga style herself so butch? She's married and has a tranny son but she looks like she's the president of the Wynonna fan club.

With all that personnel, Encores' HIGH SPIRITS looks very promising now! Their first show in many years I'll be sure to see.

Mandy Patinkin's advice to married people.

Hearing that Eva Price is in hot water. Apparently was diverting funds from Titanique into Redwood. So much so, the creative team of Titanique is pressuring her into putting the show on Broadway as recompense. What a crook!

She’s a slag!

What happened with the lawsuit accusing Bernard Telsey of unpaid office bills at the Paramount Building? Was this why he changed the company name and works from his theater now?

If the strike happens, what shows won't last?

CHESS’ score screams 1980’s.

High Spirits! High Spirits! High Spirits! Tickets on sale next week!!! I'm so excited! Andrea martin as Arcati!!! yes, "Mary!" me all you want... I love/j'adore the score.

There goes Andrea, up in the air again.

I thought for sure Tonya Pinkins was getting High Spirits...

[quote]F. Murray Abraham gave a wonderful performance in KRAPP'S LAST TAPE at the Irish Rep in the Spring.

I wouldn't expect anyone to give a wonderful performance in "Krapp's Last Tape."

[quote]I'm glad they still dazzle you. Now go put on one of your Les Miz t-shirts and pore over your Playbill collection again.

Try harder next time. Maybe you can be even more gratuitously nasty and condescending.

It's a gas it's a gas it's a gas.............

Katrina Lenk will have her work cut out for her. I don't envy her.

[quote]There goes Andrea, up in the air again.

Not exactly. Elvira, the Tammy Grimes/Katrina Link character, is the one who sings Faster Than Sound and does all the flying choreography. Depending which ending they do, Martin may make a brief leap up at the end but they probably won't do that.

r576, even Patrick Magee? Even Harold Pinter? (both on Youtube)

I was lucky enough to see the original High Spirits, so I think I'll pass. Nothing wrong with the cast, but doing Coward...uh, no.

The book isn't by Coward, r582.

I thought they all flew at the end, r580.

IMHO, Martiin is a tiresome choice for Arcati. We've seen her shtick so many times.

R585. Who would you suggest? Just curious because it's a great role for her.

She's certainly not a *wrong* choice. She's a legitimate Broadway name with two Tonys. How many of you made *your* Broadway debut in The Freaking Out of Stephanie Blake?

Edith Pickney redux.

[quote] She’s a slag!

She's not a bit of a slag, she's a TOTAL slag!

New thread (for when this one is done)

Tracey Ullman would make for a fresher take on Mme. Arcati than Andrea Martin.

Didn't she already play Madame Arcati in this last season's The Gilded Age?

Yes, r592, and badly.

I don't think Andrea Martin can be convincingly British.

r557=Walter Monheit

Or was that her audition?

What I wonder is why Philippa Soo consented to play the shrewish Ruth instead of opting for the sensual and sexy Elvira.

I don't think that the same Andrea Martin in The Freaking Out of Stephanie Blake. Wasn't she a college student in Canada back then?

Barry Williams is matinee Cockeye Johnny Dembo in ....

BAJOUR!