skynyc

There was a reunion celebration of the original cast of Pippin last night at 54 Below that was a real treat. Hosted by Walter Willisen, who was the original standby for Pippin, the event featured the original Pippin, John Rubinstein. Four of the original dancers, including Pamela Sousa and Candy Brown, the two ladies who danced with Ben Vereen in the TV commercial...which was the first live action TV commercial for a Broadway show. We learned that it saved the show which was dying at the box office. (The other two players present were Gene Foote and Cheryl Clark.) Also present was Joy Franz who was  the second replacement for Jill Clayburgh as Catherine, (the first was Betty Buckley).
Leland Palmer, who was a big Broadway dancer at the time, played Fastrada, and she left New York after Pippin to move to California and have a family, although she made some TV and movie appearances including Audrey in All that Jazz. Ads promised a video from her, and it was terrific, but the second show last night was lucky enough that Ms. Palmer appeared in person. The rest of the cast was as surprised and thrilled as the audience.
One of the poignant moments was a reminiscence by Will McMillan who was the standby for the child role, Theo, who shared that he never got to go on, but talked about all the things he learned as a 10 year old in a big Broadway hit. The songs for Ben Vereen's character, The Leading Player, were ably handled by Aaron Lee Battle. It was fun to hear these songs sung by voices who knew them so well, and marvelous to hear the stories.
My single regret is that neither Rubinstein or Franz told anecdotes of their time in the show.
The Deets: There are two more sold-out shows tonight, the 7:00 one is being live-streamed for about $30. I bought my ticket for $75 back in August when the event was announced. Most 54 Below shows run about 75 minutes, this was closer to 95. 
Here's the ad: 
 
 
 

There was a reunion celebration of the original cast of Pippin last night at 54 Below that was a real treat. Hosted by Walter Willisen, who was the original standby for Pippin, the event featured the original Pippin, John Rubinstein. Four of the original dancers, including Pamela Sousa and Candy Brown, the two ladies who danced with Ben Vereen in the TV commercial...which was the first live action TV commercial for a Broadway show. We learned that it saved the show which was dying at the box office. (The other two players present were Gene Foote and Cheryl Clark.) Also present was Joy Franz who was  the second replacement for Jill Clayburgh as Catherine, (the first was Betty Buckley).
Leland Palmer, who was a big Broadway dancer at the time, played Fastrada, and she left New York after Pippin to move to California and have a family, although she made some TV and movie appearances including Audrey in All that Jazz. Ads promised a video from her, and it was terrific, but the second show last night was lucky enough that Ms. Palmer appeared in person. The rest of the cast was as surprised and thrilled as the audience.
One of the poignant moments was a reminiscence by Will McMillan who was the standby for the child role, Theo, who shared that he never got to go on, but talked about all the things he learned as a 10 year old in a big Broadway hit. The songs for Ben Vereen's character, The Leading Player, were ably handled by Aaron Lee Battle. It was fun to hear these songs sung by voices who knew them so well, and marvelous to hear the stories.
My single regret is that neither Rubinstein or Franz told anecdotes of their time in the show.
The Deets: There are two more sold-out shows tonight, the 7:00 one is being live-streamed for about $30. I bought my ticket for $75 back in August when the event was announced. Most 54 Below shows run about 75 minutes, this was closer to 95. 
Here's the ad: 
 
 
 

They're touting this as a "NEW" musical, with a completely different book by David Thompson, who adapted Chicago's script for the Encores/now long-running Broadway production, and wrote the books for Scottsboro Boys, Thou Shalt Not, and Steel Pier; and Sharon Washington who was in Scotsboro Boys, and has written a play called Feeding the Dragon. Additional lyrics are being provided by Lin-Manuel Miranda. Directed by Susan Strohman.
They've just announced the leads: Colton Ryan...(who was just leading the tour of Moulin Rouge, I think,) and Anna Uzele, who was in the recent revival of Once on this Island, and played Catherine Parr (survived) in SIX. 
They're pulling songs from numerous Kander/Ebb sources...and mention new songs as well. Should be interesting. 

There was a reunion celebration of the original cast of Pippin last night at 54 Below that was a real treat. Hosted by Walter Willisen, who was the original standby for Pippin, the event featured the original Pippin, John Rubinstein. Four of the original dancers, including Pamela Sousa and Candy Brown, the two ladies who danced with Ben Vereen in the TV commercial...which was the first live action TV commercial for a Broadway show. We learned that it saved the show which was dying at the box office. (The other two players present were Gene Foote and Cheryl Clark.) Also present was Joy Franz who was  the second replacement for Jill Clayburgh as Catherine, (the first was Betty Buckley).
Leland Palmer, who was a big Broadway dancer at the time, played Fastrada, and she left New York after Pippin to move to California and have a family, although she made some TV and movie appearances including Audrey in All that Jazz. Ads promised a video from her, and it was terrific, but the second show last night was lucky enough that Ms. Palmer appeared in person. The rest of the cast was as surprised and thrilled as the audience.
One of the poignant moments was a reminiscence by Will McMillan who was the standby for the child role, Theo, who shared that he never got to go on, but talked about all the things he learned as a 10 year old in a big Broadway hit. The songs for Ben Vereen's character, The Leading Player, were ably handled by Aaron Lee Battle. It was fun to hear these songs sung by voices who knew them so well, and marvelous to hear the stories.
My single regret is that neither Rubinstein or Franz told anecdotes of their time in the show.
The Deets: There are two more sold-out shows tonight, the 7:00 one is being live-streamed for about $30. I bought my ticket for $75 back in August when the event was announced. Most 54 Below shows run about 75 minutes, this was closer to 95. 
Here's the ad: 
 
 
 

There was a reunion celebration of the original cast of Pippin last night at 54 Below that was a real treat. Hosted by Walter Willisen, who was the original standby for Pippin, the event featured the original Pippin, John Rubinstein. Four of the original dancers, including Pamela Sousa and Candy Brown, the two ladies who danced with Ben Vereen in the TV commercial...which was the first live action TV commercial for a Broadway show. We learned that it saved the show which was dying at the box office. (The other two players present were Gene Foote and Cheryl Clark.) Also present was Joy Franz who was  the second replacement for Jill Clayburgh as Catherine, (the first was Betty Buckley).
Leland Palmer, who was a big Broadway dancer at the time, played Fastrada, and she left New York after Pippin to move to California and have a family, although she made some TV and movie appearances including Audrey in All that Jazz. Ads promised a video from her, and it was terrific, but the second show last night was lucky enough that Ms. Palmer appeared in person. The rest of the cast was as surprised and thrilled as the audience.
One of the poignant moments was a reminiscence by Will McMillan who was the standby for the child role, Theo, who shared that he never got to go on, but talked about all the things he learned as a 10 year old in a big Broadway hit. The songs for Ben Vereen's character, The Leading Player, were ably handled by Aaron Lee Battle. It was fun to hear these songs sung by voices who knew them so well, and marvelous to hear the stories.
My single regret is that neither Rubinstein or Franz told anecdotes of their time in the show.
The Deets: There are two more sold-out shows tonight, the 7:00 one is being live-streamed for about $30. I bought my ticket for $75 back in August when the event was announced. Most 54 Below shows run about 75 minutes, this was closer to 95. 
Here's the ad: 
 
 
 

Thank you!
 

Not that I was necessarily hesitant, but I read quite a lot and have several books going at once, and when I'd read a couple pages, if they didn't catch my mood of the moment, I'd save it for later. When I finally was in the mood for Arthur Less, I devoured him in three days. LOL. 

Sorry, gotta edit this one. 
Susan Stroman.  She's also (still) working on getting a Crazy For You revival back on Broadway.
And it's not Colton Ryan, but Conor Ryan who's the current Christian in the Moulin Rouge national tour.  
Colton is an entirely different fella who's doing NY NY.

This has been on my reading pile for 2 years, I'd pick it up and read a few pages, and then put it down again. Finally, committed (because someone sent me a galley copy of the sequel...which came out last Fall) and greatly enjoyed it. Beautiful writing, and interesting recognizable character, who isn't totally likable, which I love. The surrounding characters are so great, and I have had so many of the same experiences...not travel, but just interactions. I sent my copy this morning to one friend and ordered one from Amazon to be sent to another.
 

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. 
 

Another recently announced transfer, this will move to the Jacobs theater with previews starting in February, opening in April, and closing August. I'm fortunate to live near the theater district and can walk to box offices to save the fees, but a friend who loves Ben Platt almost got tickets on line clicking on the first listing when putting "Parade Broadway" as the search. Called me to query about the high fees, and of course she was on a secondary site. Telecharge's fees are bad enough, but buying through BroadwayWorld or ticketnetwork is just a scam. 
I enjoyed this difficult piece, but don't need to see it again. 

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." 

Being a Knight means you've been around a while. It is time that you learned to post a link when you make an inquiry.

Turn off your phone.
 

Turn off your phone.
 

Turn off your phone.
 

She should have been cuffed and dragged out by NYPD, kicking and screaming.
Until producers of Broadway shows take a no-bullshit approach to this, it's only getting worse.
Theatre is for everyone...  But if you think this is like sitting at home and talking while watching TV, you're the asshole we don't need going to see shows.  
Come.  Sit.  Stay quiet.  Stay still.  Piss at intermission.  Clap.  Leave.

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.
 

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.
 

I hired him a dozen or more times 6-8 years ago. He was my go-to when my regular wasn't available...and they were friends, so we always talked about each other. The above description about him being fun and charming and naughty is perfect. He's also great in bed. A power top...and he always seemed to prefer that to oral. Size is intimidating at first, but he knows how to handle it. 
Just typing this makes me want to call him again...but it's been ages and while I know he'd remember me, the thought makes me nervous. LOL. 

I hired him a dozen or more times 6-8 years ago. He was my go-to when my regular wasn't available...and they were friends, so we always talked about each other. The above description about him being fun and charming and naughty is perfect. He's also great in bed. A power top...and he always seemed to prefer that to oral. Size is intimidating at first, but he knows how to handle it. 
Just typing this makes me want to call him again...but it's been ages and while I know he'd remember me, the thought makes me nervous. LOL. 

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.) 

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.
 

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. 
 

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.