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Thread: Broadway Questions and Recommendations

  1. #61

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    Rent Extension: Hit Show Will Close Sept. 7
    By Kenneth Jones
    26 Mar 2008

    Due to ticket demand, Rent will not close on Broadway June 1, but will play to Sept. 7, the producers announced March 26.

    Those who rushed out to buy tickets to Rent in anticipation of its announced closing have an option to attend later performances at the Nederlander Theatre. The final performance is now 6:30 PM Sept. 7. Ticketmaster.com indicates that tickets are on public sale to Sept. 4.

    "In consideration of the Rent fans who have purchased tickets for the currently-announced final week, ticket holders wishing to exchange tickets purchased for performances from Monday, May 26, 2008 through Sunday, June 1, 2008 for performances during the extension period are welcome to do so subject to availability," the producers announced.

    Ticket holders wishing to exchange can do so in either of the two ways:
    • They can take their tickets to the Nederlander Theatre box office (208 West 41st Street, New York City) during regular box office hours (Monday-Saturday from 10 AM-8:30 PM; Sunday from 11 AM-7:30 PM) Tickets must be in hand.
    • They can call the box office mail room at (212) 921-8000 and arrange the exchange over the phone. Tickets being exchanged must be mailed or brought to the box office by May 11 to complete the exchange.
    In addition, the limited amount of loyal Rent fans who have purchased tickets to the currently announced final performance on Sunday evening, June 1, 2008 may exchange into the final performance on Sunday, Sept. 7, 2008 subject to some restrictions.

    These fans must have purchased their tickets prior to March 15, 2008 and verifiable proof of purchase for these tickets must be presented: Ticketmaster account information or credit card receipt or statement. The hard copy of proof of purchase must be brought or mailed to the box office along with tickets to affect the exchange. This will be checked.

    Please note that Sept. 7, 2008 tickets may not necessarily be in the same locations as those purchased for June 1, 2008. The new tickets will be exchanged only for face value of the old tickets.


    Rent, which has book, music and lyrics by Jonathan Larson, is the seventh longest running show in Broadway history.

    The performance schedule will remain unchanged throughout the summer: Monday, Tuesday, Thursday-Saturday at 8 PM, Saturday at 2 PM and Sunday and 2 PM and 7 PM. There will be two exceptions: the show will be dark on Independence Day, Friday, July 4 and there will be an added performance that week on Wednesday, July 2, at 8 PM; and there will be no performance on Labor Day, Monday, Sept. 1, and special added performances Wednesday, Sept. 3, at 2 PM and 8 PM.


    Rent,
    directed by Michael Greif, opened on Broadway April 29, 1996, following a sold-out, extended limited engagement at Off-Broadway's New York Theatre Workshop. The musical went on to win every major best musical award, including the Tony Award, New York Drama Critics Circle Award, Drama Desk Award, and the Outer Critics Circle Award.


    Rent
    is one of only seven musicals to win the Pulitzer Prize for drama.

    Copyright © 2008 Playbill, Inc.

    ---

    I'm certainly not complaining about this extension, since I really wanted to see this show before it closed. Now I can!

  2. #62

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    Im not a big broadway goer but I saw Phatom of the Opera with my parents yesterday, I was quite blown away its very good.

  3. #63

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    I agree. I saw the traveling production of The Phantom of the Opera a couple of years ago with family and I was very much impressed.

    Of course ... I'm a big theater and acting person so I really enjoy that kind of stuff.

  4. #64

    Default Pop Star Mya to Join Broadway Company of Chicago

    Pop Star Mya to Join Broadway Company of Chicago
    by Broadway.com Staff


    Mya as Velma Kelly

    Grammy Award-winning recording artist Mya is set to make her Broadway debut as merry murderess Velma Kelly in Chicago beginning May 12 at the Ambassador Theatre. Mya has signed on for a nine-week limited engagement, though July 13.

    Mya is best known for her hits "Case of the Ex," "Ghetto Superstar," "My Love Is Like...Wo" and the Grammy Award-winning "Lady Marmalade," sung with Lil' Kim, Pink, Christina Aguilera and Missy Elliott. She is also featured in the new (RED) campaign with Dell & Microsoft and will act as a spokesperson for the North Shore Animal League's 2008 Tour For Life. In 2003, she appeared as Mona ("I loved Alvin Lipshitz…") in the Rob Marshall's film version of Chicago.

    The cast of Chicago currently includes John Schneider as Billy Flynn, Brenda Braxton as Velma Kelly, Bianca Marroquin as Roxie Hart, Roz Ryan as Matron Mama Morton, Ron Orbach as Amos Hart and R. Lowe as Mary Sunshine.

  5. #65

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    The Shows Must Go On, but Not Until They Change Theaters

    Ruby Washington/The New York Times
    “Alfred Hitchcock’s The 39 Steps,” is migrating five blocks to the Cort Theater from the American Airlines Theater. It is one of two hit Broadway plays to move on the same day.


    By GLENN COLLINS
    Published: April 25, 2008

    The computer-controlled lights and the fog machines were waiting in the wings. More than 600 props — including the maroon queen-sized pullout couch and the Zippo lighter — had been packed away. The sets that weren’t being bashed into shape to fit new stages had been muscled onto scenery trucks. And as the week wore on, a brigade of carpenters, electricians, sound and prop people performed a chaotic symphony for hammer, saw and drill.

    Ruby Washington/The New York Times
    The “August” move will cost $650,000.

    Getting from Point A to Point B has always been daunting in Manhattan, but rarely has any New York moving van saga been as operatic as the simultaneous transfer of two hit Broadway plays to new theaters on the same day.
    This year’s Pulitzer Prize-winning play, “August: Osage County,” a sprawling drama about a dysfunctional family inhabiting a rambling Oklahoma home, is moving to the Music Box Theater from the Imperial Theater next door. And “Alfred Hitchcock’s The 39 Steps,” a witty, quick-change take on the 1935 movie thriller, is migrating five blocks to the Cort Theater from the American Airlines Theater.

    The Broadway-to-Broadway transfer of even one play is more rare than a total solar eclipse. According to the Broadway League, the last time was nearly eight years ago when “Waiting in the Wings,” starring Rosemary Harris and Lauren Bacall, segued from the Walter Kerr to the Eugene O’Neill in May 2000.

    But the strange coincidence of two plays transferring on the same day “is almost stratospheric,” said Charlotte St. Martin, the executive director of the Broadway League. In both cases, their theaters had been booked for other shows; but because they were unexpected hits, their producers decided that the considerable expense of a transfer was worth the gamble.

    Because “39 Steps” has only four onstage actors in a seemingly bare-bones set, and is only moving to 48th Street from 43rd street, its transfer might be expected to require little more than a van and something of a plan. And since “August” is literally moving to the playhouse next door — to 239 West 45th Street from 249 West 45th Street, between Seventh and Eighth Avenues — it might appear that stagehands could move the show with a few handcarts and a dolly or two.

    But no. In all, the two shows will employ more than 60 stagehands, carpenters, electricians, prop people, sound technicians, teamsters and wardrobe workers toiling for more than a week, transporting 90,000 pounds of sets and equipment in 27 trucks, including four tractor trailers.

    And the total moving bill for both shows? In excess of $1.25 million.

    At the completion of this grand effort requiring, at times, 11-hour days, both plays will officially transfer on the same night: next Tuesday, when the casts will perform before paying audiences (though “39 Steps” has designated May 8 as its official reopening).

    Jeffrey Richards, one of the producers of “August,” said that “more musicals make transfers because they have longer lives,” adding, “The audience for plays is smaller, and moving costs can be very high, so a lot of them don’t transfer.”

    The “August” move will cost $650,000, and the “39 Steps” transfer not that much less, $600,000, even though its tiny cast of four actors plays 124 roles. That’s because the seemingly Spartan, brick-walled set and its large proscenium is, in reality, scenery.

    The shows ankled for different reasons. A play glut and consequent theater crunch forced “39 Steps,” which had its out-of-town shakedown cruise at the Huntington Theater Company in Boston, to open in January at the American Airlines Theater, the signature house of the nonprofit Roundabout Theater Company. Roundabout, though, had already committed to “Les Liaisons Dangereuses,” the drama of aristocratic French seduction that opens next Thursday.

    The transfer to the Cort is justified because “we had a greater demand for tickets than we could supply,” said Bob Boyett, lead producer of “39 Steps,” which moves with a comfortable advance of more than $1 million.

    “August” was going to be “a limited engagement,” Mr. Richards said. “And then the reviews came in. The play has been a phenomenon, there was an overwhelming demand for tickets, and suddenly we have an open-ended engagement.” He added that the advance going into the Music Box is $1.4 million.

    The show must transfer because the Imperial has to ready itself for “Billy Elliot: The Musical,” the Elton John show based on the movie, to open Oct. 1.
    March 29 was the last performance for “39 Steps,” and “August” has been on hiatus since last Sunday in preparation for the move.

    The “39 Steps” production, despite its diminutive cast, has more than 40 costumes and more than 100 props (and 6 pairs of shoes). “August” has 13 actors and 7 understudies, 100 costumes, 50 pairs of shoes and 500 props — not including 400 books and 200 magazines on the set’s shelves.

    Ruby Washington/The New York Times
    “August” is literally moving to the playhouse next door.

    Ruby Washington/The New York Times
    “39 Steps” at its new home at the Cort Theater.

    It took two days for the “39 Steps” crews to load out of the 43rd Street doors of the American Airlines Theater at 227 West 42nd, and it has taken four days to unload the scenery, props and wardrobe at the Cort at 138 West 48th.

    The show’s traveling proscenium “had to be retrofitted, so it’s smaller in the Cort,” said Joe Traina, house manager of the classic 1912 theater which, originally, he said with a laugh, “was going up as the Titanic was going down.”

    On a recent morning, electricians were clambering up ladders toward the 48-foot-tall ceiling to install some of the show’s 338 computer-controlled lights. Even the six machines supplying stage fog, smoke and haze effects — crucial to the show’s spy-drama atmospherics — were reconfigured to the Cort’s ventilation system, according to Ben Heller, a manager from Aurora Productions, which has overseen the “39 Steps” move.

    The transfers have been like a chess game at times. For “August,” trucks have been loaded from the stage-door side of the Imperial on West 46th Street, so the shortest possible delivery route, between adjacent theaters, has been the drive east to Seventh Avenue, then around the block to the Music Box.

    But some scenery trucks have headed to theatrical shops to resize the “August” sets. And still other trucks have actually reached the Manhattan theater by way of Rahway, N.J., and even in Connecticut, in New Haven. The trucks were placed in secure storage in those places until the Music Box stage could be prepared to receive the sets.

    “We have to move everything sequentially, so we take C and B and A out of the theater and into the trucks,” said Christopher Smith, production supervisor of Theatersmith Inc., which is coordinating the “August” move.

    “Then when the trucks come back, we put it all back as A and B and C.”
    Mr. Richards, the “August” producer, said that the move made sense “since we are getting repeat visitors and a surprising amount of tourist business.”

    He added, “We hope this play will settle in on Broadway now for one of the longest runs for a straight play in recent theatrical history.”

    http://www.nytimes.com/2008/04/25/ny...1&ref=nyregion

    Copyright 2008 The New York Times Company

  6. #66

    Default 'Cry-Baby’: ’50s Baltimore and Its Rock ’n’ Roll Rebels

    New York Times review for the broadway musical Cry-Baby, now showing at the Marquis Theater. Anyone seen it?

    Swivel-Hipped Rebel and Restless Virgin Meet Cute
    By BEN BRANTLEY
    Published: April 25, 2008

    Brace yourself for a shock, gentle theatergoer. There’s no delicate way of putting this. “Cry-Baby,” the latest Broadway musical based on a John Waters movie, is ... tasteless.


    "Cry-Baby: The Musical," with James Snyder and Elizabeth Stanley, center, at the Marquis Theater.


    Why aren’t you shocked? Oh, I see. You thought that I meant the show that opened last night at the Marquis Theater was in bad taste. A perfectly natural assumption. That would be expected of any project associated with Mr. Waters, the maker of “Pink Flamingos” and “Polyester,” who helped put America in touch with its hidden, forbidden appetites for the vulgar, trashy, tacky, freakish and seriously offensive.

    Sorry for the misunderstanding. The mild-mannered “Cry-Baby: The Musical,” inspired by “Cry-Baby,” the 1990 film about a high school rock ’n’ roll rebel in 1950s Baltimore, shouldn’t offend anyone, despite its inclusion of a singing man in an iron lung, a love ballad devoted to kissing “with tongue” and blithe references to people dying in electric chairs.

    When I said “tasteless,” I meant without flavor: sweet, sour, salty, putrid or otherwise. This show in search of an identity has all the saliva-stirring properties of week-old pre-chewed gum. (Not to be tasteless.)

    As a fail-safe business venture, the idea of movie-director-based franchises in Broadway musicals is looking dubious. Previously this season we had “The New Mel Brooks Musical Young Frankenstein,” the shrill and clumsy descendant of the blissfully idiotic “Producers,” also taken from a Mel Brooks movie.

    Now with the ebullient “Hairspray,” the smash hit musical adaptation of Mr. Waters’s 1988 movie, still running at the Neil Simon Theater, “Cry-Baby” arrives like a weaker, shyer younger sibling, bidding uncertainly for its moment in the sun. As if that’s not enough pressure for a shaky new kid on the block, a revival of “Grease” — like “Cry-Baby,” a good-girl-meets-bad-boy 1950s romance — opened earlier this season to decent business, despite a critical chorus of disgust.


    From left, Alli Mauzey, James Snyder, Elizabeth Stanley and Christopher J. Hanke in “Cry-Baby: The Musical.”

    For the record “Cry-Baby,” on which Mr. Waters serves as creative consultant, isn’t monstrously pushy like “Young Frankenstein” or dispiritingly inept like the latest “Grease.” It might be more fun to write about if it were.

    Instead the show, which has a book by Mark O’Donnell and Thomas Meehan (who did the Broadway “Hairspray”) and songs by David Javerbaum and Adam Schlesinger, is most notable for lacking a style to call its own.

    Admittedly, the movie “Cry-Baby,” which featured a dewy young Johnny Depp on the cusp of stardom, posed special problems for its adapters. A homage to early Elvis Presley and rock ’n’ roll flicks, this tale of class warfare in Baltimore had only a cobweb of a plot. The main characters — Mr. Depp’s motorcycle-riding outcast and the restless virgin from the right side of the tracks (played by Amy Locane) — were as set as figures in a passion play, one retold countless times in Top 40 songs of star-crossed love.

    By Mr. Waters’s standards the movie is restrained, as if he were striving to retain the mainstream audience he won with “Hairspray.” But it did allow his camera to make love to the insolent, epicene sexiness in Mr. Depp’s face and to parade his usual stock company of eccentric types and has-beens, including Patricia Hearst, Iggy Pop, Joey Heatherton and Joe Dallesandro.

    Nobody, alas, seems genuinely eccentric in “Cry-Baby: The Musical,” which is directed by Mark Brokaw and choreographed by the ever-aerobic Rob Ashford. Nobody seems genuinely sexy either.

    Though the musical borrows assorted raunchy characters from the film — like the strange-looking girl named Mona, known as Hatchet-Face (Tory Ross), and Pepper the hard-drinking pregnant 16-year-old (Carly Jibson) — the performers all seem like good kids impersonating bad kids for kicks.

    Make that good grown-ups impersonating bad kids, since even the young cast members somehow lack the hormonal glow of rampaging youth. I sometimes felt I was watching a junior chamber of commerce revue, devoted to those silly ’50s.

    As the show’s heroine, Allison the never-been-kissed society girl, Elizabeth Stanley looks as if she knows from kissing — and then some. She’s a robust, brassy creature, more suited to playing a gung-ho biology teacher than a blushing student. She is also required to sing out of her range, and you feel the strain.

    As her misfit boyfriend, Cry-Baby, James Snyder has the unenviable job of channeling the particular tough-but-sensitive charisma associated with James Dean and Elvis Presley (not to mention Mr. Depp’s earlier variation on that theme). For whatever reason, no Broadway actor in recent memory has provided a convincing take on this oft-recycled type (including Cheyenne Jackson in the short-lived “All Shook Up”). And Mr. Snyder, with his slipping white-trash accent and choir-boy face, never registers as remotely dangerous.

    The songs by Mr. Javerbaum (a producer for “The Daily Show With Jon Stewart”) and Mr. Schlesinger (of the pop group Fountains of Wayne) include plenty of rockabilly riffs and soulful wails (for a Little Richard-like character played by Chester Gregory II), but they often feel stuck in a groove, repeated until they go dry. Only the closing number, “Nothing Bad’s Ever Gonna Happen Again,” a sendup of the innate optimism of both the 1950s and the musical comedy, has any original spark.

    It was a mistake, by the way, to include a character (Allison’s uptight fiancé, played by Christopher J. Hanke) who wants to be thought of as witty but keeps seeing his jokes wither and die on the vine. That’s pretty much what happens to most of the gags and one-liners here, victims of soft timing and tentative delivery.

    While Harriet Harris, an ornately stylish pro, as Allison’s blue-blooded grandmother, does everything she can to make her lines sound like something out of a Douglas Sirk melodrama, the text doesn’t support her. No satiric conceit is sustained long enough for her to work with it effectively. And Mr. Brokaw, a gifted director of small-scale quirky plays, seems incapable of imposing a cohesive sensibility here.

    Mr. Ashford brings his customary gymnastic vigor to the choreography: lots of revved-up jumping jacks, push-ups and leg lifts, usually led by a trio of athletic muscle boys. A foreplay sequence with said boys and three female dancers makes clever use of the dancers’ remarkably extendable legs. A fantasy wedding routine was kind of cute. But what’s with that scary fascist police number?

    It goes without saying that the show features the requisite crinoline-skirted dresses and varsity sweaters for the rich kids and tight pants and T-shirts for the greasers. (Catherine Zuber designed the costumes.) Scott Pask’s set includes many rolling cutouts to create the mood for the obligatory courtroom, jailhouse and theme park scenes. These bright pieces of scenery summon the 1950s in regulation shorthand. But when they’re rolled off, you see they’re just storefronts. This seems all too apt a metaphor for a show that is terminally flat.

    Copyright 2008 New York Times Company

  7. #67

    Default Trials and Triumphs on the Road to Justice

    Trials and Triumphs on the Road to Justice
    By CHARLES ISHERWOOD
    Published: May 1, 2008


    "Thurgood" at the Booth Theater, with Laurence Fishburne in the title role as the Supreme Court justice.

    It’s a safe bet that “Thurgood” is the only play on Broadway at which the announcement of a famous legal verdict is greeted by a burst of heartfelt applause.

    Does that make it sound less than thrilling? Well, yes, this solo show starring Laurence Fishburne as the venerated Thurgood Marshall is a no-frills documentary in the first person, essentially an opportunity to watch a movie star deliver a history lecture. But since Mr. Fishburne is an effortlessly compelling actor, and the history in question is charged with a moral urgency that still resonates today, “Thurgood,” which opened Wednesday night at the Booth Theater, is surprisingly absorbing, at times even stirring.


    Laurence Fishburne as Thurgood Marshall in a one-man show that documents his role in the landmark Brown v. Board case.

    For audiences nostalgic for the progressive era in American history in which Marshall played a crucial role, the show may actually feel like a sweet escape to happier times, every bit as cheering (and a whole lot more edifying) than the giddiest of Broadway musicals. At the end of the play Marshall recites from a Langston Hughes poem opening with the following line: “Oh, let America be America again.” If those words elicit either a sorrowful sigh or a stirring of fierce hope in your heart, you may find this superficially dry evening of theater as restorative as a long soak in a bubble bath.

    That brief contribution from Hughes is about the extent of the play’s lyricism. Written by George Stevens Jr., a writer, producer and director of television and film making his debut as a playwright, “Thurgood” is not distinguished by psychological depth or dramatic intensity, although it has been given a tasteful production by the director, Leonard Foglia. (The stucco-colored flag sculpture that doubles as a video screen is a nifty touch from the set designer Allen Moyer, presumably inspired by Jasper Johns.)

    Mr. Stevens, who wrote and directed the mini-series “Separate but Equal,” about the landmark Brown v. Board of Education case, has studied his subject thoroughly and with passionate interest. He may cling doggedly to linear chronology, textbook style, but he does have the smarts to use verbatim quotations from Marshall as often as he can, seasoning the trek through autobiography and legal procedure with anecdotes that reveal Marshall’s playful sense of humor.

    While arguing a case of discrimination against black servicemen in Korea, for example, Marshall slyly criticized Gen. Douglas MacArthur for denying that he approved the segregation of those under his leadership. Pointing to the regiment’s all-white brass band, Marshall observed, “Don’t tell me you can’t find a Negro who can blow a horn.”

    Mr. Fishburne enters as an aged but still vigorous Marshall, retired from the Supreme Court and returning to Howard University, where he earned his law degree, to give a speech. (The University of Maryland, which had the best law school in his home state, would not admit blacks; one of Marshall’s early civil-rights victories helped end that policy.)

    The black-framed eyeglasses, the halting step and the cane are dispensed with quickly. Mr. Fishburne’s Marshall sheds the infirmities of age as he plays tour guide to his illustrious past, and he doffs and dons his jacket as his recollections vary in formality.

    After a few minutes of colorful family history (the Marshalls were partial to lively names like Fearless and Olive Branch; Thurgood was the young Marshall’s own revision of a longer handle, Thoroughgood), Marshall tosses out a question that draws the focus to the courtroom cases that shaped his life and led to the reshaping of American law and indeed American society. “How many of you’ve heard of Homer Adolph Plessy?”

    Not ringing a bell? It was the Supreme Court’s 1896 ruling in Plessy v. Ferguson, Marshall reminds us, that gave federal legal sanction to “separate but equal” public facilities for the country’s black and white citizens. Although he is probably best known today as the first African-American to sit on the Supreme Court, Marshall’s profound impact on the culture derives from the long series of legal cases he won (and occasionally lost) as chief counsel for the National Association for the Advancement of Colored People. The battle to end the de facto racism enshrined in the Plessy decision culminated in Marshall’s victory in the Brown v. Board of Education case of 1954, which laid the legal groundwork for the civil-rights movement of the next decade.

    If Marshall’s life story is related with no great theatrical invention here (the artful “Primo,” written and performed by Antony Sher, was a far more stylish stage memoir), the plain facts inevitably stir powerful feelings — of admiration for his steadfast championing of the ill-used, of delight in his ability to find humor in dark circumstances, of dismay at the recalcitrance of institutional discrimination in America. With the presidential candidacy of Senator Barack Obama putting a renewed focus on the legacy of racism, as it is viewed by Americans both black and white, the play serves as a healthy reminder that separate drinking fountains, to cite one shameful practice, are just a generation or two in the past.

    The role does not allow Mr. Fishburne to draw deeply on his rich resources as an actor, even if it requires significant stamina. (The play clocks in at 90 minutes.) The smoldering gravity he brought to his roles in movies like “What’s Love Got to Do With It” and the “Matrix” trilogy is replaced by a more genial variety. Mr. Fishburne also brings a subtle physical dynamism and a sly humor to the role, which gives the material a useful buoyancy.

    “Thurgood” naturally climaxes in the scenes depicting the arguments and the verdict in the Brown case. The last half-hour or so, taken up with Marshall’s later career as a federal judge, as the country’s solicitor general and as a Supreme Court justice, almost feels like an afterthought.

    Eventually Marshall plops down in a chair and simply starts reviewing his general opinions on significant cases from his tenure on the high court, sometimes in language bathed in banality. (“Sure, we know how far we’ve come — but we also know how far we still have to go.”)

    This passage does, however, serve as a stark reminder of how radically the court evolves over the years as its makeup changes. (I’d almost forgotten that for a period of several years during Marshall’s tenure, capital punishment was illegal in this country.) Depending on your view of the jurisprudence practiced by the court when Marshall served, and of the kind on view today, the reflections “Thurgood” evokes may be sobering or even dispiriting.

    But the heroism of Marshall’s life’s work and the hard-fought civil-rights victories achieved under his stewardship are truly uplifting. As I left, I found myself misty eyed, recalling a celebrated line from a speech by the Rev. Dr. Martin Luther King Jr. that I have always found moving, in which he cites a belief that “the arc of the moral universe is long, but it bends toward justice.”

    Copyright 2008 New York Times Company
    Last edited by The Benniest; April 30th, 2008 at 10:31 PM. Reason: copyright

  8. #68
    Senior Member Bob's Avatar
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    Default The Country Girl

    Choices, choices. The other day we had the good fortune to be able choose between Broadway shows starring Lawrence Fishburne, Morgan Freeman, Patrick Stewart, or James Earl Jones.

    My pick was James Earl Jones, but after some negotiation with my lovely bride, we ended up seeing The Country Girl, starring Morgan Freeman.

    The show: average
    Morgan Freeman: excellent.
    Supporting cast: average to poor. (poor casting!)
    Scenic design/sets: good to excellent
    Lighting: good
    Costumes: excellent

  9. #69

    Question Musicals to see...

    Being a huge theater fan, when I make my next visit I want to see 2-4 broadway shows .. if I the money. Musicals I have been looking into...

    • Avenue Q
    • Mary Poppins
    • Monty Python's Spamalot (for the second time ... i loved this musical!)
    • Rent
    • Wicked
    • Young Frankenstein

    Does anyone have a personal review of any of these shows? I'm definitely going to be seeing Rent, since it will be leaving Broadway in September. I'm not sure about the others...

    Also, any suggestions? I'm not huge on off-broadway shows, but am keeping this suggestion from Lofter open and will take any other suggestions for off-broadway shows.

    Thanks!
    Ben

  10. #70
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    Thumbs up "Passing Strange" at the Belasco Theater

    I saw "Passing Strange" tonight. Easily the best musical of the season. Original. Intelligent. Memorable. Provocative. It's a real shame that this show hasn't found its audience yet. It is up there with Rent, Spring Awakening, and other shows that were out of the box and pushing the envelope.

    The music is inspired. The cast fantastic. And, with the same lighting designer as Spring Awakening, it deserves a special Tony nod for achievement in lighting design. This lighting designer is a master.

    A great, great show.

  11. #71
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    Thumbs up The New Century - Hilarious Comedy by Paul Rudnick

    This was a fun and hysterically funny new comedy by Paul Rudnick. If you want a night out of laughter and good cheer, I highly recommend it. It will especially resonate with New Yorkers and even more so with gay New Yorkers, although it was a predominantly an older married crowd.

    Two thumbs up!

  12. #72

    Default

    Quote Originally Posted by The Benniest View Post
    Being a huge theater fan, when I make my next visit I want to see 2-4 broadway shows .. if I the money. Musicals I have been looking into...

    • Avenue Q
    • Mary Poppins
    • Monty Python's Spamalot (for the second time ... i loved this musical!)
    • Rent
    • Wicked
    • Young Frankenstein

    Does anyone have a personal review of any of these shows? I'm definitely going to be seeing Rent, since it will be leaving Broadway in September. I'm not sure about the others..
    Ben
    I have seen all but Young Frankenstien.. it is still on my list. i am kind of a sucker for Broadway, you won't get to many bad reviews from me. these are great bug Ave Q is probably my favorite followed by Spamalot, Wicked and Rent. My G/F would rank Wicked first followed by Ave Q than Spamalot than Rent.

    I know you are pretty stuck on Rent, but it probably ranks as no better than 4th on our list.

    Good luck and have a great time.

  13. #73

    Default

    Thank you eddhead. I'm definitely looking into Avenue Q right now because it looks like a really interesting, funny, and nice show.

    -ben

  14. #74
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    Default

    Quote Originally Posted by The Benniest View Post
    Being a huge theater fan, when I make my next visit I want to see 2-4 broadway shows .. if I the money. Musicals I have been looking into...

    • Avenue Q
    • Mary Poppins
    • Monty Python's Spamalot (for the second time ... i loved this musical!)
    • Rent
    • Wicked
    • Young Frankenstein

    Does anyone have a personal review of any of these shows? I'm definitely going to be seeing Rent, since it will be leaving Broadway in September. I'm not sure about the others...

    Also, any suggestions? I'm not huge on off-broadway shows, but am keeping this suggestion from Lofter open and will take any other suggestions for off-broadway shows.

    Thanks!
    Ben

    Rent is amust as its last day is September 7th. just saw it for the second time saturday night. Id also just saw Young Frank and its very funny, so if your up for one drama and one comedy, thats your best route!

  15. #75
    http://tinyurl.com/2ag28z Front_Porch's Avatar
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    Default Tony nominations out . . .

    In the Heights leads with 13; August Osage County racked 'em up as well.

    BR's new fave, Passing Strange, which I love too, got half a dozen.

    ali r.
    {downtown broker}

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