skynyc

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.

bump...he's in NY now.

It was a fun show, and I love Dave Yazbeck in general. No formulas in his writing. This wasn't my favorite and honestly, had it stayed off-Broadway, I think it might have developed a real following. But hard to recommend in a season so packed with more traditional fare. And honestly, you're right about the Tony song, ending with the "Your mama's dead...And so are you!" song wasn't the best choice.

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He was my last hire before the pandemic in March 2020...and lots of fun. But he's not 6'3". And the physique isn't the same, even then there was no definition. That being said, he did come three times in our hour-plus. And gave me a good pound. LOL. I was put off by the fact he contacted me numerous times in April and May to have another go...but we were in lockdown, and I understand he probably needed the income, but I wasn't comfortable with the risk.

There was a concert version several years ago at Lincoln Center that was sensational. Laura Osnes and Tony Yazbeck led an all-star cast. I was sure that it would come to Broadway...and would have been a hit again!

I know this thread is veering from Redwood, but the projections aspect is interesting to me. I read one post that said they hoped the Tony voters would see beyond the "movie acting", clearly in reference to Sunset and Dorian Gray. And I agree...I enjoyed both performances, and was impressed but not moved by either production. Sunset in particular would have been pointless without the giant screens. She stood and sang (beautifully) a mediocre score which has never sounded better. Truly the definition of a park and bark. The "Joe stroll outside the theater" was interesting, but distracting and became a gimmick. But I'm old. The kids around me LOVED it...(but then again, they'd given up two hours of TikTok to be in the theater.) Sarah Snook is giving a tour-de-force performance, but the first 20 minutes you don't see her...because she's behind the screen. You see her feet, and those of the myriad camera/stagecraft folk with her, but it's pretty great when she finally comes around the screen. Sound design is immaculate. I heard every word...but it made me question what was pre-recorded...was it just what was the extra characters? I do think that the Tony voters will give the awards to the two "movie actresses", but would vote differently myself. Although Sadie is incredible.

For the first 30 minutes, I was wondering what the buzz was about. It felt like a P-town drag show just getting laughs by using the C-word and accusing an uptight woman of being a Dyke. But the last half really got me laughing. The scene at Ford's Theater is truly brilliant. Cole is so funny, and it will be interesting to see how the Tony voters go. I also wonder how in this crazy world, the fact that they can support a very GAY play by a non-cis playwright/performer may be a factor. I do find it rather amazing that this was a finalist for the Pulitzer.

I found the book of SMASH to be so implausible that it irked me. The talent on stage being underused in a parody of the industry. SPOILERS. The ha-ha treatment of both pill addition and alcoholism, and the laxative scene with no repercussion, other than it backfired on him. And even in our "woke" society...I don't think that anyone would scream "body-shaming" over reluctance to cast a plus-sized woman as Marilyn Monroe. The inanity got in the way of my being simply entertained. That all being said...the cast is amazing. Brooks is doing his usual schtick, wonderfully. Robyn is a true triple-threat. Krsytal and John are terrific. I walked out more sad than thrilled. Boop, on the other hand, carried me along, almost completely because Jasmine Amy Rogers is so exceptional. Of course, the costumes and dancing didn't hurt. This is the one I am sending people to. I will probably go again.

Sadly, she had six eleven-o'clock numbers, all of which she sang well, but they became redundant. As a co-creator of the project, she was too close to it. I am a bit surprised that the set didn't get a Tony nod...the projections are spectacular. And the fact that the Tony committee hasn't created a Projections catagory just shows how out-of-date they are. In a lesser year, I think that Zachary Noah Piser might have gotten a Tony nomination as featured actor. He had one of the only really memorable songs.

I saw the workshop last Summer in a church basement, and saw an early preview. They've tweaked and tightened a lot. It's a terrific BIO musical. And I generally don't care for them. But this one is very solid, slickly done, and Jonathan Groff is so talented and natural, he's a pleasure to watch. They cover all the hits...and some of the "not-hits". LOL Costumes and production are awesome. The Roses Dresses got applause at my performance.

Echoing the above...you folks are troopers, putting up with us. LOL. I agree that a default "Everywhere" for search would be great, but it's pretty easy to use the drop down...I just have to remember. thank you again.