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Don't miss this early Stephen Schwartz charmer which is the original home of his very popular song Meadowlark. Classic Stage is an intimate space on 13th Street, and they've basically converted into a French cafe for the telling of this charming story. Cast couldn't be better. Ariana duBose, Scott Bakula, Judy Kuhn, Nathan Lee Graham. It's extended to 12/21 and I already have a second ticket.

I lived in LA from 92-94 and loved Numbers. Met so many interesting folks there...both working men and regulars. I was lamenting with a friend of the days when you could go to a bar, and engage in brief conversation and then make a connection. The current rigmarole of texting and waiting for a reply, which often doesn't come, and then hoping the person doesn't flake! <sigh> In New York now, and wish there still was an Uncle Charlies...(or even Stellas) to go on a Thursday night. LOL

Don't miss this production at Lincoln Center. It's lovely on every level. Casting is great, the orchestra stupendous, and staging clean and powerful. Some stunning stage effects. Was told by Stephen Flaherty after that while it's currently only scheduled through January 4, it will extend if reviews are good and tickets sales are strong. So powerful and pertinent for today. It does run a full 2:50, so if you only go to one-act musicals, brace yourself. (Fun to be sitting right behind Hugh Jackman and Sutton Foster.)

So easy to get there. And they try to be accommodating to train schedules. Penn Station to Millburn is about 45 minutes, and it's an easy 10 minute walk to the theater...Train Fare for seniors 62+ is only $9 round trip. There was a 1:30 matinee, took the 12:12 train and had time to relax before the show. Runs 2 1/2 hours so we missed the 3:50 return, so walked into town, had an ice cream and caught the 4:50 back. Home by 5:45. And my theater ticket was under $100 for a decent center mezz seat.

It was a lovely day to take the 40 minute train ride out to Millburn to see the new musical Bull Durham based on the movie from 1988. Carmen Cusack, from Bright Star and Flying Over Sunset doesn't disappoint. Her voice is perfect for the somewhat Southern flair of the very decent score. I actually could hum two numbers leaving the theater. (Not that this indicates a good score. LOL) And the book is strong, adapted by the original screenwrite Ron Shelton. Nik Walker is terrific as Crash, and Will Savarese is kind of irresistable as Nuke. Production is really strong, with terrific choreography by Joshua Bergasse. There's lots of shirtless baseball players throughout. Got my ticket on TDF, so it was definitely worth the trip! This could be a home run.

I saw Andrew Barth Feldman in MHE this weekend. He's wonderful, sings it beautifully and does great justice to the role of OLIVER, an obsolete robot. He's not as robotic as Darren Criss was, which took me some time to get used to, but my friend had never seen it and she loved him, and the show. Yes, I have tickets to see it again when Darren is back. LOL

Terrific new Hip-Hop musical by two of the most talented folks I've seen in a long time. Telling the story of a young slave in early 1880s following the Underground Railroad SOUTH, across the Rio Grande. Think Hamilton 100 years later, but with only two performers and incredible modern mixing technology. Some Spanish, but like Buena Vista Social Club, you understand what's being conveyed. This could be big, and the two young creators, Brian Quijada and Nygel D. Robinson are folks I will keep my eye on. Not for everyone, but I was riveted, and hope that they can show this to lots of kids...it's the most accessible theater out there for young people, especially of those of color, that I've seen in a long time.

And now Cabaret is closing in two weeks, BIlly Porter out with Sepsis. His understudy will play the part for the last two weeks, they're required to give that notice by the unions. Scandal about the entire investment being lost and a lawsuit by one of the investors who wants to see the books. And I suspect Billy would have recovered enough to go back in, but was not happy about the way things were going. Prices cuts and papering the audience, so he had is agent/manager pull the plug.

I went to what was to have been Darren's last performance. It was lovely. At the curtain call, he announced that he was taking a leave of absence until early November, and was excited to entrust the role of Oliver to Justin Barth Feldman, who he brought to the stage and ceremonially handed him Oliver's "charger". It was charming and a good political move. The audience went wild, and there were probably 300 people crowded around the stage door afterwards. I do have tickets to see JBF do it at the end of the month.

I think Andrew will be terrific, already have tickets to see him. And I love Darrin. Seeing his (originally) final show on Sunday. I do think the producers didn't realize the hubbub that they'd create. But I also think they wanted to show that the roles can be played by any performer. The show is an odd sell. Word of mouth and Best Musical are great. But describe it to a friend and you get a funny look. "Set in Korea in the future, two obsolete robots fall in love." Going to be a tough sell in DesMoines. By showing the roles can be universally played is, in my opinion, necessary. But I also understand the concern from the AAPI community. Truly a rock/hard place. But the backlash against ABF who is just glad to get a job is unfortunate.

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HATED Redmayne...blamed the direction. Missed Lambert because I was afraid it would be the same. Then friends saw Peck and raved and so I went back. And yes, he was terrific...an entirely different show. No interest in Porter. For the sake of the working cast/crew, I hope it lasts through October.

Sad to hear this, because Bio-Musicals can work...although not often. Jersey Boys and the current Just in Time are both amazing. I actually liked MJ, as did the audience around me. It's pretty true to his life from the perspective that he's thinking back while rehearsing the Dangerous World Tour in 1993, before the issues were unearthed. I had some contact with him at that time, and was a huge fan. Neither Cher nor Donna Summer worked that well for me, although I found them both worthy of taking out of town guests when they came. Part of me would love to go to Nashville to see this. Timing is wrong for me now. LOL

He's got good comments here, but why keep changing your name...that's usually such a red flag?

Final performance was great. I got a ticket with Audience Reward points, and friends stood in line for standing room. I got there early to get a shirt, but the merch was completely sold out except for the Pudgy stuffed dogs. Jasmine got a minute long ovation when the spotlight hit her when the curtain rose. And huge applause for each characters entrance. The conductor really ran the pace...lots of big numbers could have had more sustained applause, and several folks were jumping to their feet after every number (Oy.) Ainsley started to break during the first slow line of Just Around the Corner...and the extended cheer got him back on track. Jasmine got a full two minute standing ovation after Something to Cheer About at the end. Her make-up was almost running. Jerry Mitchell came out at the end and gave a quick thank you to all, but didnt' call crew onto the stage. Said that Boop will "be around" hinting at tour, perhaps. So glad to have gone one more time. I think my seventh time...counting one in Chicago.