Seems noteworthy:Continue reading “Versus”
Category: If You Can’t Make It Here, Make It Anywhere Else
Hunting for the Old Huntington
What better time than the holiday season to re-don my Scrooge costume and rail against old theatres undergoing ahistorical facelifts…
The Merchant of…Montclair?
Site-specific productions are the true double-edged swords of the theatre world.
All The World’s a Stage, and All the Men and Women Merely Selfish Audiences
My main problem with criticism today, both formal and informal, can be summarized in the phrase: “the selfish audience.”
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THE LIGHTNING THIEF: THE PERCY JACKSON MUSICAL
Since The Lightning Thief: The Percy Jackson Musical – based on a popular young adult book series – is now going on tour, my belated thoughts on its New York City engagement at the Lucille Lortel Theatre earlier this year have become relevant once more:
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THE ROOMMATE (Williamstown Theatre Festival)
Rarely does such a sitcom-meets-Will Ferrel/Adam-McKay premise lead to glorious pedanticism, but playwright Jen Silverman revels in the unexpected.
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For a musical about a future without death, Deathless feels dissonantly lifeless.
HUNDRED DAYS (The Bengsons; The Public Theater’s Under the Radar Festival) – Tweet of Consciousness
HUNDRED DAYS (The Bengsons; Under the Radar): Yet another "this is our love story" confessional song cycle (with some dialogue thrown in)
— Steven Strauss (@aintnohero) January 14, 2017
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Tweet of Consciousness: Weekend News Roundup
News regarding Escape to Margaritaville; Sweat; Hamilton in London’s quest to stop scalpers/touts; the Stuttering Association for the Young (and Bruce Springsteen, kinda); the Ambassador Theatre Group/Colonial Theatre; and the Nassau Coliseum:
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OCTOBER SKY: A Launch with No Landing
80% of all Broadway musicals fail to make money, which is only a fraction of the total number of musicals that fail to even make it to Broadway at all.
This statistic has absolutely nothing to do with the new musical adaptation of October Sky, currently playing a self-labeled pre-Broadway tryout at San Diego’s Old Globe Theatre, one of the most prestigious regional theatres in the world that has shepherded such recent fare as Bright Star, A Gentleman’s Guide to Love and Murder, and Dirty Rotten Scoundrels to the Great White Way. Even so, I feel the need to open this review with this little factoid because it’s essential to understanding why October Sky exists, because almost nothing that audiences can actually see and hear on the Donald and Darlene Shiley Stage in this tolerable-at-best musical justifies its excessively familiar existence.