edjames

Extended, again! now till Dec 15. Off-Broadway Premiere of Theresa Rebeck’s Seared Extends Again The new comedy about the restaurant world, starring Raúl Esparza, opened October 28. MCC Theater’s production of Seared, by Theresa Rebeck, has extended again, this time through December 15. The Off-Broadway limited engagement was initially scheduled through November 10 before extending to December 1. The second extension announcement comes shortly after the play's official opening October 28. Directed by Moritz von Stuelpnagel, Seared features a cast made up of four-time Tony nominee Raúl Esparza (Company), W. Tré Davis (Valor), Krysta Rodriguez (Spring Awakening), and David Mason (Trick or Treat). In Seared, brilliant chef Harry (Esparza) scores a mention in a food magazine with his signature scallops, and his business partner Mike (Mason) finally sees profits within reach. The only problem: Harry refuses to recreate his masterpiece for the masses. Then mix in a shrewd restaurant consultant (Rodriguez) and a waiter (Davis) with dreams of his own. MCC Theater’s production of Seared, by Theresa Rebeck, has extended again, this time through December 15. The Off-Broadway limited engagement was initially scheduled through November 10 before extending to December 1. The second extension announcement comes shortly after the play's official opening October 28. Directed by Moritz von Stuelpnagel, Seared features a cast made up of four-time Tony nominee Raúl Esparza (Company), W. Tré Davis (Valor), Krysta Rodriguez (Spring Awakening), and David Mason (Trick or Treat). In Seared, brilliant chef Harry (Esparza) scores a mention in a food magazine with his signature scallops, and his business partner Mike (Mason) finally sees profits within reach. The only problem: Harry refuses to recreate his masterpiece for the masses. Then mix in a shrewd restaurant consultant (Rodriguez) and a waiter (Davis) with dreams of his own.

I'll be across the plaza at the NYPhil's tribute to Sondheim on NYE.

Closing notice... Jan. 19. Has anyone on this list seen the off-Broadway production of Fiddler? A Dark ‘Oklahoma!’ and a Yiddish ‘Fiddler’ to Close in January The inventive revivals offered new ways to experience cherished classics of the musical theater canon. Two boldly reimagined revivals of beloved American musicals — a blood-soaked and bluegrass-tinged “Oklahoma!” and a “Fiddler on the Roof” performed entirely in Yiddish — will end their acclaimed runs in January. The “Oklahoma!” production, now at Broadway’s Circle in the Square Theater, won this year’s Tony Award for best musical revival, and also won a Tony for Ali Stroker, the actress playing Ado Annie, who became the first performer using a wheelchair to take theater’s top prize. It will close Jan. 19. “Fiddler” is an Off Broadway production, now running at Stage 42. It will close Jan. 5. Both productions were praised by critics for offering new ways to see, hear and feel two of the most cherished works of the musical theater canon. The “Oklahoma!” revival emphasizes the violence and danger of an American frontier community, while the authenticity of the “Fiddler” revival reinforces its poignancy. The productions were both successful in many ways, with humble beginnings that led to extended runs. Neither has yet become a financial success, but each production said it is hoping to recoup its capitalization costs through touring productions. “Oklahoma!,” directed by the avant-garde innovator Daniel Fish, had a first professional production in 2015 at Bard College’s SummerScape festival, and then last year had a successful Off Broadway run at St. Ann’s Warehouse in Brooklyn before beginning performances in March on Broadway, where the lead producer is Eva Price. Its box office grosses have fluctuated, peaking at $651,744 during the week ending April 28; the show grossed $473,275 during the week that ended Oct. 20. Thus far it has been seen by 151,782 people and has grossed a total of $16.5 million, according to the Broadway League. “There’s a long future still ahead for Daniel Fish’s groundbreaking production,” said Ms. Price, who cited a 45-week tour that is scheduled to begin in Oklahoma City next fall, as well as “other international productions, currently in the planning stages.” The Broadway production and the tour were jointly capitalized for $8.5 million, Ms. Price said. The production has not publicized a closing announcement, but has been advertising Jan. 19 as its final performance, and Ms. Price confirmed her intention to end the Broadway run at that point. The production was initially announced as a limited engagement through Sept. 1 and was then extended.

Me too! Saw yesterday's matinee at the new home of MCC, a wonderful modern comfortable theater space with multiple theaters. I highly recommend this production. Funny, sharp, and intense. Well-written and well-acted. The cast of 4 is brilliant. Extended to Dec 1. Tickets are hard to come by, so visit the website and get a seat. Great new theater space home for MCC on West 52nd St and 10th Avenue. https://mcctheater.org/tix/seared/ “Intense, fast-paced and blisteringly funny, the restaurant-kitchen comedy SEARED is an outstanding accomplishment!” -TIMES UNION “One of the finest plays of the season! A funny, dramatic exercise in frustration, love, and the adoration of a devoted chef to his art.” -THE BERKSHIRE EDGE Brilliantly hot-headed Chef Harry (Raul Esparza) is a genius in the kitchen; his scallops are the “it” dish in Brooklyn. His business partner, Mike (Dave Mason), wants to expand their restaurant, but Harry sees that as selling out. When a shrewd consultant (Krysta Rodriguez) is brought in to make the case for expansion, Harry boils over. Can their most devoted employee (W. Tré Davis) help to put the lid back on? And yes, Mr. Esparza preps and cooks meals while on stage Due to popular demand,MCC Theater a 3-week extension of the upcoming New York premiere of Seared by Pulitzer Prize finalist and two-time Emmy Award nomineeTheresa Rebeck and directed by Tony Award nominee Moritz von Stuelpnagel >is scheduled to begin previews at the ;Susan and Ronald Frankel Theater within the Robert W. Wilson MCC Theater Space on October 3, 2019, ahead of an official opening on October 28, and will now through December 1, 2019 (instead of November 10)..

Ticket prices for some Broadway shows have gone through the roof. I'll be damned if I'll spend $300 or $400 dollars for a ticket. My budget cannot support those prices and the seats aren't that good. For that money, I expect to sit on Hugh's lap, or he on mine. Went online yesterday to take a look and the seat section and prices haven't changed since I last looked about a month ago. I did get a reasonably priced ticket and center orch seat for Tina for a lot less. This year I'm being more discriminating than usual. I'm tired of dementia, Alzheimers, AIDS, death, divorce and all these shows about teenage angst. Given the state of the world, I'm lookin for uplifting, funny and more enjoyable topics. I've supplemented my calendar with concerts and other events that were less expensive. It's Steve's (Sondheim) 90th birthday, so I'm off to Zankel Hall next week for a tribute show by Michael Feinstein. Ticket price..$100. Also, New Year's Eve and the NYPhil will be honoring Steve and I picked up a ticket for that event.

NYPost loved it, too... ‘Little Shop of Horrors’ review: Jonathan Groff, Tammy Blanchard get real By Johnny Oleksinski October 17, 2019 | 9:00pm | Updated Westside Theatre, 407 W 43rd St.; 212-315-2302. Running time: 2 hours, one intermission. THEATER REVIEW LITTLE SHOP OF HORRORS Westside Theatre, 407 W 43rd St.; 212-315-2302. Running time: 2 hours, one intermission. Suddenly Seymour is standing beside you. Like, right beside you. “Little Shop of Horrors,” which opened Thursday night off-Broadway, is getting a much more intimate staging than when it last played New York, both on Broadway and at the large City Center. Tight feels right, because the roots of Alan Menken and Howard Ashman’s terrific show are in small houses. Now the insanely catchy doo-wop musical occupies the 270-seat Westside Theatre, with a bare-bones set and not a projection in sight. Freed from dealing with the usual trappings of modern musicals, you can feel the actors let their vines down. Jonathan Groff (TV’s “Mindhunter”) plays Seymour, the hapless florist who, after an unexplained blackout, stumbles upon an unusual Venus flytrap-like plant that changes his life. His co-worker crush Audrey (Tammy Blanchard) starts paying attention to him, and Mushnik’s Flower Shop is bombarded by customers who want to see the strange creature Seymour’s named Audrey II. Problem is, this picky vegetation doesn’t live on water or fertilizer — it needs human blood. There are only so many ways to acquire that … such as murder. Those familiar with Rick Moranis’ neurotic Seymour from the film may be surprised by Groff’s more subdued take. He doesn’t play up eccentricity or geekiness: He’s just one of those sweet guys society ignores. Blanchard, too, doesn’t go the cartoon route with Audrey. She is genuinely anguished by her Skid Row life and her dangerous relationship with Orin the dentist (Christian Borle). You don’t have to look hard in New York to find someone who can belt “Suddenly Seymour,” but you do to find one as real and gut-wrenching as Blanchard. And, yes, Michael Mayer’s production — with its blood and death set to bouncy tunes — is still hilarious. Borle’s dentist leaves you gasping for breath when he inhales nitrous oxide for kicks. His erratic energy is that of Jack Nicholson in “The Shining.” And there are laughs to be had at how perfectly big Audrey II (voiced by Kingsley Leggs) is puppeteered as Leggs croons “Feed Me.” Don’t feed the plant, but do see “Little Shop.” https://nypost.com/2019/10/17/little-shop-of-horrors-review-jonathan-groff-tammy-blanchard-get-real/

And its a HIT! RAVE reviews... Ben Brantley in the NYTimes said: https://www.nytimes.com/2019/10/17/theater/little-shop-of-horrors-review-jonathan-groff-feeds-the-beast.html?rref=collection%2Fsectioncollection%2Farts&action=click&contentCollection=arts&region=rank&module=package&version=highlights&contentPlacement=2&pgtype=sectionfront ‘Little Shop of Horrors’ Review: Jonathan Groff Feeds the Beast Michael Mayer’s revitalizing revival of this genially gruesome classic becomes a sly morality tale for the age of universal celebrity. A certain carnivorous plant has been repotted in Hell’s Kitchen, and I am delighted to report that it’s thriving there. This hot showbiz shrub of yesteryear, which goes by the name of Audrey II, has found a new dance partner, a performer who can coax the tendril-stretching star quality out of a freakish botanical specimen. That would be Jonathan Groff, who is generating major nerd charisma in Michael Mayer’s delicious revival of “Little Shop of Horrors,” which opened Thursday at the Westside Theater/Upstairs. A bouncy, wide-eyed veteran of Broadway musicals (“Spring Awakening,” “Hamilton”), Groff has more recently found streaming celebrity as an impressionable, serial-killer-stalking F.B.I. agent in As Seymour, the dorky hero of “Little Shop,” the 1982 musical by Howard Ashman and Alan Menken, he scents his ingratiating persona as a song-and-dance kid with a creepy whiff of rankly corruptible innocence. This Seymour — a flower shop assistant catapulted to fame as the caretaker of the man-eating Audrey II — is sweeter and scarier than earlier incarnations. As such, Groff is of a piece with a production, which also features a winningly cast Tammy Blanchard and Christian Borle, that understands that camp is most successful when it’s played with straight-faced sincerity, instead of a wink and a smirk. “Little Shop” has been around the block since it first became an Off Broadway hit, with a cast led by Lee Wilkof and the divine Ellen Greene. Inspired by The Little Shop of Horrors,” the musical adaptation was itself recycled as a 1986 movie, and there are current rumors (sigh) of a cinematic remake. Onstage, the show has been a deathless favorite of high school and community theaters. And Audrey II and company made their Broadway debut in an overscale, anodyne 2003 production. There was also an emotionally resonant 2015 Encores! concert version, in which Greene re-created her original role opposite Jake Gyllenhaal. With that, I felt I was ready to say goodbye for a whileto this lovable little show from my youth. Yet against expectation, Mayer’s interpretation, staged in a 270-seat theater, summons the shivery elation I felt seeing “Shop” at the East Village’s Orpheum nearly four decades earlier. It restores the show to its original scale and sensibility, reminding us of the special potency of grisly things that come in small, impeccably wrapped packages. It’s not an exact facsimile of the 1982 production, which was directed by Ashman. Working with an ace design team, Mayer heightens the show’s classic pulp elements, its aura of low-rent noir splashed with flecks of blood-red. Julian Crouch’s Skid Row set — in which sooty door stoops frame the dingy shop of the title — is an urban-legend rhapsody in grime, lighted to chill by Bradley King. It is here that Groff’s Seymour toils thanklessly as the klutzy assistant of its owner, Mushnik (an agreeably unsympathetic Tom Alan Robbins). His fellow employee, Audrey (Blanchard), is a masochistic sweetheart who is dating a sadistic dentist. (The indefatigably vivid Borle, a two-time Tony winner, makes antic hay out of this and other roles.) She is also the girl of Seymour’s dreams, and in her honor he bestows the name Audrey II on that strange and sickly plant he picked up in Chinatown during a solar eclipse. Audrey II, it turns out, has a voice, a rolling, soulful, irresistibly imperious bass provided by Kingsley Leggs, sounding like a hybrid of Chuck Berry and Barry White. And it demands that Seymour feed it with human blood. As the plant keeps growing, Seymour becomes a star by association with this outsize creature. But maintaining fame requires sacrifice, and human sacrifice, at that. Ashman (book and lyrics) and Menken (music) — who would go on to collaborate on beloved scores for animated Disney musicals like “The Little Mermaid” — had the felicitous idea of setting this story to the cadences and close harmonies of Brill Building-style pop. The plot here is annotated by a Greek chorus of street Urchins. (Will Van Dyke is the deft arranger and orchestrator.) Their stylistic provenance is indicated by their names: Ronnette,Crystal and Chiffon, the smartly synchronized yet spikily individualistic team of Ari Groover, Salome Smith and Joy Woods. (One caveat: the band-heavy sound balance sometimes makes their witty lyrics incomprehensible.) Blanchard’s singing voice tends to leap gung-ho onto notes, like an anxious but enthusiastic sky diver who never knows where she might land. This turns out to perfectly match her confidence-challenged character, whose past is checkered with abusive Mr. Wrongs. (The actress’s conviction enhances our discomfort at seeing Audrey show up at work bruised and battered from her love life, a visual joke that now registers uneasily.) Wearing bandage-tight, cleavage-framing dresses (Tom Broecker did the spot on costumes) and striking gracefully ungainly poses of distress, this Audrey brings to mind those imperiled dames on the covers of vintage crime paperbacks. In contrast, the bespectacled, schlubby Seymour is nearly invisible when we first meet him. But like Audrey II — whose ever-larger, ever-hungrier incarnations are embodied by Nicholas Mahon’s fab puppets — Seymour continues to grow in presence. Watch the expression on Groff’s face as he sidles across the stage, cradling an early, snapping hand puppet version of his truest soul mate, which tries to nibble on the front row. Attention is new to Seymour; he likes it. And when, surrounded by frisky Urchins, he does an involuntary hip bump, his face glows with a subtle, gratified surprise. “Hey, this feels good,” he seems to be saying. And without ever entirely abandoning Seymour’s initial deadpan mien or milquetoast voice, Groff charts a precise evolution of a man becoming drunk on the prospect of world renown. Which, this being a musical comedy, happily parallels a performer unbending into the liberation of good old, show-off showbiz. The Corman film of “Shop” was, like many horror and sci-fi flicks of the Eisenhower years, a fable of the atomic age, playing to a nation’s fears of science run amok. This triumphantly revitalized musical has its own sly message for an era in which celebrity is regarded as a constitutional right: Embrace fame at your peril. It’s a killer. the reviews give way to speculation on what the future holds. An extension is possible, but will Groff, Blanchard and Borle all be available? A larger theater move may ruin the intimacy of this production. we'll see...

I saw this afternoon's matinee performance and LOVED IT! It's a fun show. I saw the original down at the Orpheum theater on Second Avenue decades ago. Ellen Green, from the original film, was a diva/chantuese here in NYC back in the 70's, and I saw her perform in a number of clubs. She went on to star in the Broadway production of Rachel Lily Rosenbloom ( and don't you forget it), which was originally touted for Ms. Midler but Bette's career took off and she bowed out. Anyway, that was then, and here we are with a new production at a small and intimate westside theater. The cast is wonderful and I'm happy to say the audience loved it, too. It officially opens tomorrow night , October 17. Getting tickets is next to impossible although the two seats on the aisle in my row (D) were vacant for this performance. I believe there is a daily lottery. Somehow, I don't think this show will transition into another theater as theater space at a premium. Groff is adorable as Seymour, although he sprays the audience with spit when he sings! I also noted that it looked like he had generous coating of Vaseline his lips...don't get me started, there's a whole bunch of gay-themed moments in this show!!! I met up with talented actress, Tammy Blanchard after the show and shared a walk in the pouring rain to the West Bank Cafe on 42nd St. She's an absolute delight. AND...she SO resembles Judy Garland, It's almost eerie. She won an Emmy in 2001 for playing Judy in the TV film Life With Judy Garland Me and My Shadows. Oh yes, Christian Borle, is also very good. Ok, reviews to come soon...

Sorry, you beat me to the post. I posted this item in the Lounge this morning. Would the moderator to move it, please? A closeted performer who everyone knew was gay.

A more simple answer...perhaps he is diabetic and takes daily insulin injections? Finally, confront and ASK!

Shamefully, Rip never came out of the closet and denied he was gay for many years. It was a well know fact that he was gay in the gay community and I once met his "boyfriend" in Palm Springs. Rip Taylor, the confetti-tossing actor and comedian, is dead at 84 CNN)Rip Taylor, the confetti-tossing actor and comedian, died Sunday. He was 84. Taylor was hospitalized at Cedars-Sinai Medical Center in Los Angeles in the intensive care unit after suffering a seizure last week, his publicist Harlan Boll said. He was born Charles Elmer Taylor in Washington, D.C., according to Boll. Taylor served in the Korean War and began entertaining then, according to Boll. Taylor's signature became wacky costumes and props, a handlebar mustache and his confetti tosses during the 1970s, according to IMDb. He was a frequent guest on game shows of that era, including the "Gong Show." Taylor acted on Broadway, film and television, and was known for his over-the-top personality. "He lived up to his reputation," Boll told CNN in an interview. "He was called the 'Prince of Pandemonium.'" "Rest n Peace Mr. Taylor. Loved you, grew up watching you. Thank you for all the laughter you brought me," comedian David Alan Grier posted on Twitter. Taylor's voice was heard on animated films, including "DuckTales the Movie: Treasure of the Lost Lamp," "Tom and Jerry: The Movie," and "Scooby-Doo and the Monster of Mexico," according to IMDb. Taylor was nominated for an Emmy Award for voice of Uncle Fester in the TV cartoon series," The Addams Family," according IMDb. "The greatest joy he had in life was the result of making others laugh. He didn't have an easy childhood," Boll said. " Abused and bullied, he said he discovered early, that they weren't hitting you if they were laughing. Taylor is survived by longtime partner, Robert Fortney, according to Boll.

Saw it FOR FREE at the CinepolistWest 23rd St movie complex theater here in NYC. Bought a ticket for the 1PM show. Went into the theater where I, and about a dozen other patrons, sat and waited for the show to begin....NOT! Theater manager came in at 1:15 and said the would start immediately....NOT. Another theater employee came in at 1:30 and said they couldn't get the projector to work (do they still have those?), so we were all entitled to a full refund and free admission to the 1:45 showing. Despite the aggravation, I enjoyed the movie very much and watching the Crawley's and the downstairs staff is like catching up with old friends. Will definitely watch it again...and agin.

I have used Zappos many times. Never a problem.

Tom Ford has an incredible line of fragrances. I am addicted to his scents, especially FUCKING FABULOUS!

If this is a once in a lifetime trip, go for broke! Make it a truly memorable event and get the best seat available. However, for those on a budget there are tickets available from discounted brokers, such as Goldstar. Do a google search on discounted Met Opera seats.

Pain or trouble swallowing can be a symptom of a thyroid problem. It can indicate nodules on the thyroid which may interfere with swallowing. An endocrinologist can help diagnose and a sonogram of the thyroid may be a followup. Nodules can be benign or cancerous. Most can be removed quickly with an out patient procedure.

Living in NYC, I come across celebrities on a regular basis. I live in an upscale building and one of my neighbors was a major manager/agent in show biz. I almost died the day Kit Harrington walked out his door and we rode the elevator to the lobby. Not only was he very good looking but sweet and nice. Today, I rode the 23rd St crosstown bus with Adam Rippon. Cute.

You're right, no sleep, his creative mind keeps working 24/7! Just announced, Ewan McGregor as Halston for a biopic, a documentary about Andy Wharol, a series starring Jessica Lange about Marlene Dietrich in Las Vegas in the 1960's, and Patti Lupone and Holland Taylor in a Hollywood sex-industry tale.

Mr. Murphy is a busy man and is lining up several broadway inspired new productions and adaptations. Ryan Murphy will continue his pursuit of bringing Broadway to the small screen with a limited series based on the Tony- and Pulitzer Prize-winning musical 1975 A Chorus Line. The 10-part adaptation is in the early stages of development as part of the media mogul's deal with Netflix. No word yet on a production timeline for the project, or further details—including how Murphy intends to expand the 100-minute musical into a long-form Murphy, who won a Tony Award earlier this year for the revival of The Boys in the Band, is also developing a Netflix adaptation of said Mart Crowley play, as well as a movie version of the recent Broadway comedy The Prom (with a cast including Meryl Streep, Nicole Kidman, and James Corden). Additional Netflix projects include the upcoming anthology series The Politician starring Ben Platt (premiering September 27), the One Flew Over the Cuckoo's Nest prequel Ratched with Sarah Paulson, and Hollywood, starring Holland Taylor and the newly announced Patti LuPone. WATCH: Ben Platt, Jessica Lange, and Gwyneth Paltrow in New Trailer for The Politician A Chorus Line, conceived by director-choreographer Michael Bennett and featuring a score by Marvin Hamlisch and Edward Kleban, navigates the high-energy and heartbreaking process of auditioning for a Broadway musical, informed by the accounts of the performers who first brought the show to life. Since its 15-year original Broadway run, the musical was revived on Broadway in 2006 and returned to New York City as part of City Center's 75th anniversary season. It was previously adapted for the screen, albeit in a film widely considered unsuccessful, in 1985.

It was no "duh" that this new production would come to Broadway. Anne Hathaway was asked to play the lead, however she is pregnant with her second child, so the wonderful Katrina Lenk will star. ‘Company’ Returning to Broadway, With a Woman at Its Center The revival, starring Katrina Lenk and Patti LuPone, will open next spring on Stephen Sondheim’s 90th birthday. Goodbye, Bobby. Hello, Bobbie. A re-gendered revival of the 1970 musical “Company,” which had a well-received production in London that opened last year, will arrive on Broadway next spring starring the Tony Award winners Katrina Lenk and Patti LuPone. The show, with music and lyrics by Stephen Sondheim and a book by George Furth, is about a chronically single about-to-turn 35-year-old wrestling with the judgment of a group of married friends. The original production won six Tonys, including best new musical, in 1971, and it has been revived twice, most recently in 2006. The new production involves a significant rejiggering of the show’s gender dynamics. The protagonist, who is celebrating a 35th birthday in the show, is now female, implicitly introducing the biological clock into perceptions of her singleness. The production also reverses the genders in one of the show’s married couples, so that there is now a stay-at-home husband and a bread-winning wife, and transfers one of the show’s signature songs, “Getting Married Today,” which is about last-minute wedding jitters, from a straight woman (Amy) to a gay man (Jamie). The revival is directed by Marianne Elliott, a celebrated British director who won Tony Awards for “War Horse” and “The Curious Incident of the Dog in the Night-Time” and who directed last year’s Tony-winning revival of “Angels in America.” “Company” will be the first musical directed by Ms. Elliott on Broadway, and also her first Broadway venture as lead producer. She and Chris Harper formed a production company, Elliott & Harper, so that she could take more control of her own work. “I wanted to do something that was fun and creative and could speak to a large audience about being a woman now,” Ms. Elliott said. “By taking ‘Company,’ which is a musical that I’ve always loved, and giving it a female Bobbie rather than a male Bobby, it suddenly becomes very now — she’s single, she’s got a great career, she’s clearly got a lot of friends and a good apartment, but she is going into her late 30s and she hasn’t got a life partner, and all of her friends have an opinion on that.” Ms. Elliott said that her production also reframes the story so that it is taking place inside Bobbie’s head — she is imagining what her friends will say about her. And she said the Broadway production will not be a replica of the London version — for starters, it will feature an American cast, she said, but also, “there’s no way we’re just going to reproduce what we did in London — hopefully we’ve learned what we can make better, and now we get a chance to do that.” Ms. Lenk, who won a Tony last year for “The Band’s Visit,” will play Bobbie, succeeding Rosalie Craig, who played the role in London. Ms. LuPone, a legendary Broadway star who won Tonys for “Evita” and “Gypsy,” will play Joanne, a friend with a drinking habit and an amazing song, “The Ladies Who Lunch”; Ms. LuPone also played the role in London, to great acclaim. The revival will be staged at the Bernard B. Jacobs Theater, with an opening scheduled on March 22, which is the night of Mr. Sondheim’s 90th birthday.

This announcement confuses the hell out of me. Filming for the next 20 years? Sorry, but I seriously doubt I'll be around to see it. If Steve lives, he'll be 110!!! ‘Merrily’ This Film Will Roll Along. For the Next 20 Years. Richard Linklater will direct a screen adaptation of the short-lived Stephen Sondheim musical, starring Ben Platt, Beanie Feldstein and Blake Jenner. “Merrily We Roll Along” spent just two weeks on Broadway after it opened in 1981. Now, a film adaptation of the Stephen Sondheim and George Furth musical — which fans have grown to love, despite its rather floppy start — will be in production for more than 500 times as long. Over the next 20 years, Richard Linklater will direct the “Merrily” movie, starring Ben Platt, Beanie Feldstein and Blake Jenner, Mr. Sondheim confirmed on Thursday evening. The musical moves in reverse, chronicling over two decades the fortunes of three best friends in show business. Frank, a Broadway composer, starts the show jaded and successful before regressing to his bright-eyed past. Charley, his regular lyricist, and Mary, a writer, also move back toward their idealistic beginnings in a show that features such Sondheim standards as “Good Thing Going” and “Not a Day Goes By.” “It’s experimental for a lot of people, and it’s hard for people to imagine,” Ginger Sledge, who is producing “Merrily We Roll Along,” said in a phone interview on Friday. “We have to shoot in reverse.” Mr. Linklater, 59, is no stranger to yearslong production schedules: His 2014 film “Boyhood” was shot over 12 years and followed the same young actor as he grew up. Mr. Linklater has also worked with Mr. Jenner on his 2016 film “I first saw, and fell in love with ‘Merrily’ in the ’80s, and I can’t think of a better place to spend the next 20 years than in the world of a Sondheim musical,” Mr. Linklater said in a statement. “I don’t enter this multiyear experience lightly, but it seems the best, perhaps the only way, to do this story justice on film.” Mr. Jenner, known for his time on Fox’s teen musical series “Glee” and Netflix’s “What/If,” will play Frank, while Mr. Platt and Ms. Feldstein — real-life best friends — will portray Charley and Mary. The news of the screen adaptation and its cast was first reported by Collider. In a statement, Mr. Jenner called the show “a beautiful, relatable story, with music I’m in love with, and I know this is going to be an amazingly creative journey for the next 20 years.” Mr. Platt vaulted to fame with his Tony Award-winning title performance in “Dear Evan Hansen.” He will also star in the Netflix series “The Politician” later this year. “This project has already been one of the most special blessings of my life,” Mr. Platt wrote on Twitter. Ms. Feldstein has had plum roles in films like “Booksmart” and “Lady Bird,” and she was recently tapped to play Monica Lewinsky in the new season of “American Crime Story.” She has a Broadway background as well, as Minnie Fay in the revival of “Hello, Dolly!” She and Mr. Platt attended the same high school, and, if a 2016 tweet is any indication, their casting in “Merrily” together has been a dream of hers for quite some time.

Absolute right! If they hadn't screwed up the production company for Cirque du Soliel, this would have been right up their alley!

Check the Parliament House resort/hotel in Orlando. They have a "Flesh Friday" male revue... http://www.parliamenthouse.com/ Also, according to the web, Pulse has male dancers.

Since seeing the show, I have discussed it with 4 of my friends who have seen it and are avid theater goers. They all agree that they, too, were disappointed. The group of young gals behind me at the show did not like Karen Olivio and one pointed out, she really didn't look like someone who was dying of consumption. Oh well, to each his/her own.....

What do you get when you mix La Boheme, Rent, So You Think You Can Dance, American idol, with Ringling Brothers Barnum and Bailey circus? MOULIN ROUGE!!! An extensive free for all of every pop hit in the past 30 years alll set in a nightclub that is more like a Bell époque Parisian bordello! I won't even begin to let you know all my thoughts. Cast was good, choreography, good, costumes and sets yet it all left me cold. And, yes, divest your stock portfolio because this is not a cheap ticket! Yet the orchestra was completed full, AND the Notorious RBG was there to see it last night with 6 huge gorillas looking like the extras from Men In Black accompanying her down the aisle.