ApexNomad

Hudson was the worst actress to play Shug. And when she didn’t get the Tony nom, she left the show shortly thereafter.

I feel like such an old queen debating Gypsy on a Thursday night, but here we are. First — we agree on something: Gypsy is a beloved show. The score is iconic, and the role of Rose will always draw attention. But let’s be clear — you’re now saying the casting isn’t the issue as long as it’s a Black actress you personally prefer. That’s not about artistic vision or respect for the material. That’s taste posing as authority. And it underscores my point: what’s really being challenged here isn’t Audra’s talent or Rose’s history — it’s your comfort. You said Gypsy is a “very real person” to audiences — and that’s fine. But the character of Mama Rose, as written, is not a historical reenactment. She’s a theatrical invention. A mythic figure. The same way Funny Girl plays fast and loose with Fanny Brice’s life. That dramatic elasticity — that freedom — is what allows reinterpretations to breathe. You framed Audra’s casting as risky for both “white acceptance” and “Black acceptance.” But risky to whom? Whose approval are we centering when we assume a show’s success hinges on casting someone who flatters nostalgia? Audra McDonald has six Tonys and more range in her pinky than most performers could dream of. She doesn’t need anyone’s permission to play Rose. She is exactly the kind of actor this role demands — vocally, emotionally, and dramatically. And when you say you would’ve “run to buy tickets if it were Jennifer Holliday or Jennifer Hudson,” that’s not an artistic objection. That’s a personal preference — and that’s fine. But preference isn’t principle. And it doesn’t override legitimacy. At the end of the day, Gypsy doesn’t belong to one voice, one aesthetic, or one audience. If it can’t survive reinterpretation, maybe it isn’t as immortal as its fans want to believe.

This made my day. I hope I’m still alive to see it when it comes out. 2027.

That’s not a bad way to go.

Effie and Deena are explicitly written as Black women. Their race is central to the story — it’s about Black artists navigating racism in the music industry during the Motown era. You can’t separate their identity from the plot. Casting white actresses in those roles would erase that cultural and historical context — it wouldn’t be nontraditional, it would be whitewashing. In contrast, Gypsy isn’t a show about whiteness. Rose is not defined by race. She’s defined by ambition, control, delusion, and love. A Black actress in the role doesn’t erase the story’s meaning — it expands it. That’s the difference between representation and erasure. Race matters in Dreamgirls. It does not define Gypsy. That’s the distinction.

This is working for me on so many different levels!

I think what we’re seeing is that overt racism has become more socially acceptable in some circles — not because of illness, but because certain environments have made people feel emboldened to say out loud what they used to keep hidden.

For the record, I would be possessive of his dick too.

Broadway tickets are expensive — not everyone’s rushing to drop $250+ on a show they’ve seen revived half a dozen times. And this is coming from someone who paid center 3x as much for orchestra aisle to see George Clooney and Denzel Washington. The issue isn’t Audra or George Wolfe — it’s that Gypsy is old-school. I know because I’m old! But it’s old. Brilliant, yes. But it doesn’t have the IP buzz or TikTok hype that fills theaters in 2025. If anything, Audra’s taking a risk — not indulging in vanity. She’s trying to breathe fresh life into a classic that isn’t an automatic sell anymore. As for your last point — whew. That’s a minefield of false equivalence and coded racial grievance. Yes, Gypsy Rose Lee was a real person, but Gypsy the musical is only loosely based on her memoir. The lead role — Mama Rose — is not a strict historical figure. She’s a theatrical invention: a heightened, mythic portrayal of ambition and maternal obsession. The show isn’t a documentary — it’s a drama with a capital D. You’re comparing apples to institutional racism. The casting of Audra McDonald is a reinterpretation of a fictional role, not an erasure of a historical figure’s lived experience. If a white actress were cast to play, say, Harriet Tubman or Billie Holiday — that’s revisionist. Audra playing Rose? That’s theater doing what theater has always done best: reinventing familiar stories with fresh urgency. And frankly, if anyone has earned the right to take on a role like this, it’s Audra. Ten times over.

Audra McDonald isn’t “that kind of star”? You mean the kind with 6 Tonys, a National Medal of Arts, and universal critical respect? She doesn’t need to prove anything. But Broadway still needs to catch up to her. Funny how a white actress taking on Rose is brave or just right, but when it’s Audra — a literal Broadway legend with more Tonys than anyone alive — it’s suddenly a “vanity project.”

That’s an important and often overlooked point. Sexual attraction doesn’t erase systemic bias, fetishization, or interpersonal prejudice. Racism can exist within intimacy — when someone exoticizes, objectifies, or limits a person’s value to their body or race. In my opinion, true allyship and respect go far beyond who someone sleeps with. It shows up in how they engage with people’s humanity, dignity, and lived experience. I wonder how Rhyheim feels.

He had no problem taking Rhyheim Shabazz’s dick up his ass.

The Gazillion Bubble Show brings back such sweet memories. I saw that show on a date night. The finale is basically an orgy of bubbles—you can barely see a thing. It’s hilarious. And we kissed under the bubbles.

I wouldn’t underestimate Heather Headley. She doesn’t have the cache as Audra, but Netflix has reach and she stars in the widely popular Sweet Magnolias. She’s a Tony winner herself. People have been waiting for her return to Broadway. And I love her voice. I could see her act the shit out of that role. But it’s a moot point as the actress from Memphis is scheduled to take on the role while Audra is on vacation.

Silence can be sexy—but apathy? Not so much. There’s a difference between being passive and being absent. I’m paying for the time spent with a human being, not a doorstop. And as a bottom, if a provider’s whole vibe is “don’t talk, just take it”—fine. BUT, and this is a big BUT… then make it worth the silence. Dominance isn’t the same as disengagement. Otherwise, it’s not sex—it’s a sleep study.

Here’s the thing about Gypsy - she’s the ultimate star vehicle, not a box office marathon. Every Gypsy revival burns bright… then exits stage left. None of the revivals last long - only two lasted little over a year.

It’s always a shame when a show has to close. At least Smash made it past the Tonys. Can’t say the same for Redwood which announced its early closing after the nominations.

If you can sit through Threepenny Opera, you can sit through Sunset Blvd. 😘 I almost walked out of Thou Shalt Not—starring Harry Connick Jr., with music by Harry Connick Jr., co-starring Debra Monk. The only reason I stayed after intermission was because Monk’s character becomes paralyzed in the face and has to communicate using a chalkboard around her neck. I was holding out hope for an 11 o’clock number featuring Monk and the chalkboard—but alas, it never came.

You can bleach it, buff it, bedazzle it—still an asshole, boys.

“I couldn’t help but wonder… can a show lose its zip code without changing its address?”

I’m getting that way about the original characters too.

Honestly, even the editor’s probably like, ‘Yeah, go ahead.”

I actually thought Audra’s performance at the Tonys felt a bit off. It was a very different experience seeing her live in the full production. For what it’s worth, I’ve always felt that Rose’s Turn, taken on its own, doesn’t land with the same impact—you really need to see how the character gets there for it to feel earned. I get why the producers always showcase it. The Sunset ballads, on the other hand, stand on their own and could easily be played on the radio. With Sondheim, I almost always need the context. His songs tend to come alive when you understand the journey that leads to them.

This comment is dripping with condescension masked as backhanded praise. It’s not a genuine compliment, but passive-aggressive snark aimed at Cole’s gender expression, success, and perceived politics.

Disclaimer: I don’t know you. Never met you. So go with what works best for YOU! You know yourself best. That out of the way, based on what you’ve shared, I will put in bold a mock ad for you, followed by my thoughts. Use/do what you think is best. Good luck! (PS, follow Jamie’s advice or reach out to other professionals in this space - again, he actually does this. I speak only as a prospective client and what I would like to see, emphasis on I. Everyone is different so handle yourself and your business/side hustle accordingly.) Relax. Connect. Surrender. I’m not a licensed therapist—I’m an intuitive, sensual masseur offering erotic, connection-driven experiences tailored to your energy and needs. My style blends tantric touch, body-to-body nuru, and slow, attentive intimacy. A full-body journey designed to awaken, arouse, and deeply relax. Clients often tell me I have a natural gift. I’ve been praised by pros and regulars alike for knowing exactly where to go, how to touch, and when to slow down. I don’t follow a script—I follow your body. This is my pleasure too. Whether you’re looking to melt into the moment, explore erotic connection, or simply feel wanted and worshipped for an hour or two… I’m your guy. Discreet, respectful, and professional. First off, for me, this ad establishes a clear vibe and sets expectations. From the opening line, the tone is sensual, intentional, and confident. It tells me right away this isn’t going to be a clinical massage—and that automatically filters out the guys looking for shiatsu or sports therapy. You’re setting the stage for the kind of experience you want to give, and the kind of client you want to attract. Second, it’s about the client, not just you. Your original post focused on how turned on you get, which might be true, but it doesn’t tell a potential client what they’re getting in return. This version flips that: it’s about their body, their relaxation, their journey. That shift in focus makes it more appealing. It reads like an invitation—not a diary entry. Also, it builds credibility without overexplaining. Just saying “clients tell me I have a natural gift” or that pros have praised you gives the right amount of social proof without sounding like you’re trying too hard. You’re not pretending to be or advertising as a licensed therapist—you say so right out of the gate. You’re leaning into intuition, connection, and erotic energy. And most importantly: it promises pleasure, presence, and connection. That’s what many people who engage with you are coming to you for. It’s erotic but tasteful. Confident but not cocky. Personal but still professional.