Category: Boogaloo Down BROADWAY
Throw the Book at Them
You may have noticed in my belated recap of the 2017-2018 Broadway season a severe lack of love for The Band’s Visit, the consensus pick for the best new musical of the year.
Suddenly, Seymour is Here to Provide You Sweet Misunderstanding
Unlike a lot of other aspiring journalists with moral idealism coursing through their fingers, I usually don’t like to criticize the work of elder scribes.
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Parsing the Career of Jim Parsons (Briefly)
Jim Parsons is finally turning into a good actor!
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No, Seriously, There’s Nothing Wrong With That
In yesterday’s defense of movie-turned-musicals, I focused almost exclusively on analyzing this macro trend, rarely touching upon any specific micro examples.
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Not That There’s Anything Wrong With That
Ever since the Tony Awards announced their Hollywood-property-dominated slate of nominees this year, a plethora of hot-take-prone cultural critics started — though really continued a trend that predates this season — bemoaning the fact that Broadway looks a lot more like movie theaters nowadays.
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“Original” Scores
For a movie or show to be nominated for Best Score at the Oscars or Tony (or any other offshoot) Awards, the music written for it must be predominantly original.
Subpar Theatre(s)
At the beginning of this season, I didn’t mind the fact that two shows I probably wouldn’t consider my cups-of-tea — Jimmy Buffet’s jukebox Escape to Margaritaville, and the two-part, interminably-excessive Harry Potter and the Cursed Child — were planning to occupy my two least favorite theatres on Broadway: respectively, the Marquis and the Ford Center for the Performing Arts-turned-Hilton-turned-Foxwoods-turned-Lyric (for now).
Write All Nite 