skynyc

Loved it, so smartly and carefully curated, with some video of old NY trains, etc to allow you see what Hopper was seeing. A remarkable retrospective that showed so many stages of his life as an artist. Wish they could have gotten Nighthawks from the CAI, but the sketches were a nice peek. Fun to see his sketchbooks, (and fun to have a dozen young art students with their sketchbooks sketching Hopper's work.) Will definitely merit a return visit.

Looking forward to seeing this in two weeks on Broadway. Was fortunate to see it three times at the Atlantic in Chelsea. Needless to say, loved it.

I am also not a huge fan of Ben, but he was perfect for this role. (And age appropriate.) Sang it well, and although his "Come Up To My Office" wasn't as over the top as the original, it still skeeved me out. The director's choice to leave him sitting in his "cell" for the curtain call was very powerful. He was brought some water, paced a bit, etc. It was unsettling as the audience chatted and caught up, came and went, to have that reminder of his captivity right in front of us. Michael Arden has really become a director to watch.

I saw the final dress of this new musical on Monday night. I thoroughly enjoyed it and think it will be a big hit. Very faithful to the original movie, with modern sensibilities that work. Sweet Sue is a fabulous Black Bandleader/singer, with an Ella vibe and lots of sass. Sugar is also Black...(Catherine Hicks who was the original Catherine of Aragon in Six on Broadway,) and nicely developed from the character made so famous by Marilyn Monroe. Christian Borle is Josephine (the Tony Curtis part) and is wonderful, doing some of his funny schtick. The real stand-out for me was J Harrison Gee as Daphne. He was a sensational Lola in Kinky Boots near the end of the run, and here he stole the show. Has a second act anthem which is comparable to I Am What I Am from La Cage, and may just win Mr. Gee a Tony. Score is by Marc Shaiman and Scott Whitman and it's their best effort since Hairspray. The book is full of very funny quips and takes. (No programs...not sure who wrote it.). Directed by Casey Nicholaw who knows what people like in a rollicking escape of a musical. Sets and costumes are great period 1933. (Fun for theatergoers, one understudy was on in the ensemble, and a couple of her costumes weren't ready...so she went on in cobbled together "trying to be appropriate" rehearsal clothes in two numbers.) Worthy of it's own discussion/topic, but there are a lot of important shows on playing right now which have gotten rave reviews and accolades: Death of a Salesman, Cost of Living, The Piano Lesson, Raisin in the Sun, Top Dog/Underdog. But looking at weekly grosses and ticket offers, folks aren't going to them in the numbers expected. Broadway has gotten so expensive, I have to wonder that if one is only going a couple times a year, they're not looking to be "edified", they're looking to be entertained. Well, I do think Some Like It Hot needs a little trim...running almost three hours (with a very long intermission), but this theater-goer was VERY entertained. I actually have tickets for two more upcoming performances...one purchased on TDF...where there is still some availability for $57...and one purchased with a discount code which expired on 10/31. I will keep you posted if there are changes.

https://rentmen.eu/damondavisfornow/#platinum Any info?

Jim Parsons from The Big Bang Theory on TV and Boys in the Band and Harvey on Broadway is now starring as Albie Burn in the musical A Man of No Importance. Based on the 1994 film with Albert Finney, the musical has a book by Terrence McNally and music by Ahrens/Flaherty. I have always liked the musical better than the movie as the focus was a little tighter and kinder. This new production is classic John Doyle. Very sparse set, many performers doubling as musicians, and intimate in tone. Despite the fact that Parsons' brogue isn't consistent, the piece was very affecting for me. The ensemble which includes Mare Winningham, Thom Sesma, Mary Beth Peil, Bill Youmans, and the adorable AJ Shively, is OUTSTANDING. The music is perfect for the piece with classic Irish music overtones, and lyrics that paint definite a picture of the the time/setting. Originally played by Roger Rees, the part of Albie doesn't require a terrific singer, which is good because Parsons isn't one. He still manages to convey the confusion and anxiety of being gay in Dublin in the early 60s. I recommend seeing this rarely produced quiet piece, especially for the exquisite ensemble work (and Shively's rendition of The Streetlights of Dublin). The Deets: I am a CSC member, so my ticket was $89. ($50 for the membership, $39 for the ticket.) I had great seats near the top of the thrust. Show runs about 95 minutes without an intermission. Opens on 10/30 and just extended into mid-December.

I'm not sure what folks use, but I've had some luck on SeatGeek. I also occasionally check the Shoppin' section on All That Chat, a Broadway gossip board. I've scored a couple times there.

I subscribed to the whole season expecting that to be the case...and was surprised that they allowed subscribers to get additional tickets...up to a total of eight. I ended up buying a pair to two performances, expecting to want to see it twice, but know several folks who bought eight with the intention to sell the extras. Keep an eye on the secondary ticket market. Also, if it gets good reviews, I suspect it will transfer to Broadway for a limited run. With a January closing at NYTW, there's plenty of time to open before the Tonys...where it can compete with more Sondheim: Into the Woods and Sweeney.

I found the Times review to be much too effusive. Thought, I wish I'd seen that play. The Guardian review is pretty accurate, and the Post review most reflects my feelings. There's a too-long opening monologue, (which cause real confusion for me when we see this actor again later.) I really found the second half to be moving, but it felt a bit of a slog to get there, which I blame mostly on the opening scene. (It's 1:40 with no intermission.) In fact, when discussing it after, I teared up while talking about the last scene. I understand the accolades, the voices are real, and performances strong. Wish I'd known more going in, which isn't always the case. The portrayals by the "differently-abled" performers are great, and not gimmicky. I do recommend for avid theater-goers. I got this on TDF so paid only $45, and ended up with very decent seats. I myself am fascinated by the recent spate of Pulitzers and am trying to catch them to compare what was considered ground-breaking at that time. (Skin of Our Teeth last year at LCT, Fat Ham at the Public, currently Strange Loop, and just previewing Top Dog/Underdog and Death of a Salesman.)

I saw this play (both parts) three times in NY, and had a ticket to the closing pair...which was cancelled when the Pandemic started three days before. (Remember when we thought it would be only a couple weeks/a month maybe?) I found it moving and sexy and a strong overview of the era of my life. I shared it with both some older folks who'd mentored me, and some young folks to better know where I am coming from. Tempted to go see in LA, but my schedule this Fall is rough.

Text of bad review is now gone because it listed his name, but it mentioned ANGEXXL showed up high and wanted payment up front. Reviewer had issues with transferring money, whether bank error or what, wasn't able to pay. Provider became angry. Well, I'd be curious to know how many times providers show up and have clients say "Oh, I cannot access my bank, or whatever." I think provider has a right to be angry. I thought cash was still king these days. Don't know either party, but slamming a provider for showing up and getting angry after being told "I cannot pay you" seems unfair.

A High Five for Glenn Burke by Phil Bildner came out a couple years ago. A middle reader book for ages 10-14 about a baseball-loving kid who has gay feelings and learns about Burke. Terrific portrayal of going through that difficult time.

Saw an impressive show this weekend, which is around for one more week. Written in 1909 by Elizabeth Baker, it was her first play. Dealing with issues that are still daily conversation today: why do we work in jobs that we hate, having an adventure before settling down, is marriage a trap, what is your duty to your family vs. yourself. The cast is large, 11 characters, and all are terrific. The sets are a marvel...there's a scene change that earned applause. Deets: bought my ticket on TDF for a discount. 2 hours 15 minutes. Highly recommended for avid theater goers who like strong productions of good plays. If you don't know the Mint's work rediscovering lost and underproduced plays from the early 20th Century, treat yourself to this one.

They're both great choices...and very different. Mr. Saturday Night is funny, better-than-decent score, Billy Crystal doing his thing. Into the Woods is funny, Sondheim, great cast. Since you're seeing Company, I might suggest ITW as a good Sondheimian juxtaposition, but if you're not a huge fan, then Billy Crystal won't let you down.

Saw the transfer last night and it was wonderful. Works beautifully in the smaller space, which is still pretty big and was mostly sold out. Phillipa Soo and Brian D'Arcy James are both perfection as Cinderella and the Baker. I liked NPH, but BDJ adds a heart to it and has wonderful chemistry with Sarah Barielles. Patina Miller seemed not quite up to speed in act one, but was wonderful in act two. Nancy Opel makes the most of her tiny role, and Aymee Garcia is terrific as Jack's mother. I splurged on great seats and loved every second. (The St. James isn't great for leg room.) I did notice it was on the tkts board for 40% off this week. I may wait until later in the run to go once again.

I used to see him in NY and Chicago...he was getting his nursing degree and almost finished, and said he's be quitting this biz when it was complete. Wished him well. Wrote him during the pandemic to check in and to say Thank You. He didn't reply...and perhaps the number was closed.

Closing date at end of July announced this morning. Even with 5 Tonys, there are still lots of empty seats, and a large company is expensive in the summer. As of July 1, masks are no longer required, just recommended. Will be interesting to see if this makes a difference. I know two people who said they won't go to theater if they have to be masked...and several who say they won't go to theater if folks aren't masked. At any rate, the Jacobs is a popular theater and won't be empty for long.

Looking for some fun this weekend, my usual guy is still not available. Went online and amazed to see the amount of visiting "talent". I suppose there are lots of visiting admirers too, so hopefully the locals are also getting a lot of attention. Decisions, decisions!!!!

What an experience...thanks for the total share. And I do hope you'll share his name, as I am heading to Orlando in October. And as for your moment of emotion...I have had that happen a couple times. I am usually slow to cum with an escort the first time...I just am too nervous. And never while we're "doing it", usually after he's come (or pretended to). I was with a escort shortly before the pandemic and he was fucking me with just the right rhythm, and verbal goading...and I blew! Big. I was so surprised. And then I just started to sob. So embarrassed. He was awesome, and understanding. And I am excited to be heading to Chicago next week where I'm hoping to meet him again.

Was sent City of Girls by Elizabeth Gilbert who wrote Eat, Pray, Love. Tag line is "You don't have to be a good girl to be a good person." Only on page 100, but silly fun. Perfect for summer...will report back when I am finished.

Some spoilers. I saw it at Playwright's Horizons several years ago, and after the first act was laughing and loving it and thinking it really was the next huge thing...planned to stop at box office and buy tickets to another performance. But the second half mitigated that strongly. I didn't buy more tickets, and remember thinking when it won the Pulitzer that it was appropriate, especially in this time. When it transferred, I had forgotten much of my feelings about the second act and eagerly went again. Now one 90-minute act, my feelings were very much the same. It's still powerful and ground-breaking, but 90 minutes of self-loathing is hard to endure, especially when the resolution is not full of hope. The "Tyler Perry" parody at the end is ten minutes too long. We know before going in that his family hates his being gay, it's a classic (and tragic) depiction of "I don't hate you, I hate that you're gay." Well, they don't get that that means they hate him. I also think the graphic butt-fucking scene is going to make it unplayable in many places, watch out Omaha and Birmingham. Note: it isn't tittilating at all...it's a harsh depiction of a bad scene, followed by a song called "Why Did I Do That?" I admire the show...it is groundbreaking. I have highly recommended it to a very specific group of people. And I think the Pulitzer may be warranted. The night after this I saw The Skin of Our Teeth at Lincoln Center...another Pulitzer winner from 1940s. Equally groundbreaking for it's time, and equally challenging as a piece of theater. BUT I think of the Tonys as bringing theater to people around the country, and this play, I fear, will get fully half of the folks who go to see it to think "well, if this is what the theater is nowadays, I will stick to the movies."

Rumors abound of an 8 week transfer to the St. James this Fall with all but NPH, who has a prior commitment. I will readily see this again.

Actually, Lenk's vocals have improved drastically since when I first saw this in December. The first time I saw her do Being Alive I was underwhelmed. The big 11:00 number and it was "meh". I've been back a couple times with different out of town visitors and she really has gotten to where she nails it. Still within the character she's created for Bobbi, but with much more control and oomph. I would certainly have nominated her over Mare Winningham or Carmen Cusack, both of whom I enjoyed, but Lenk is in almost every minute of Company.

Take Me Out was on the half-price booth today. Probably balcony seats, but the folks who can buy from scalping agents don't know or care.

Saw this last night, a lavish production of a difficult play. Ahead of it's time for 1942, and not irrelevant today. the second act is a bit of a slog...garish and overlong (but it does evoke life before Noah's flood,) but with a jewel of a performance by Priscilla Lopez as the Fortune Teller. But the third act does redeem the evening. I don't think this play will be on Broadway again...audience was half full to start, and a third of that left at intermission. Interesting to see this 1942 Pulitzer winner two days after A Strange Loop the 2020 winner. Challenging theater must be part of the requirements. As a subscriber I had discount, great seats. And I am glad to have seen it, but don't recommend it to all, just those with a palate for allegory and nonsense. (But the dinosaur puppet itself in act 1 was almost worth the price of admission.)