Does anyone else find it difficult to decipher every word sung in a musical?
Continue reading “Accessible Clarification Clarifies Accessibility”
Does anyone else find it difficult to decipher every word sung in a musical?
Continue reading “Accessible Clarification Clarifies Accessibility”
Remember when I was worried that Roundabout would fail to properly memorialize the legacy of their dearly departed honcho?
Continue reading “Hottest Toddy”
The defender of the theatrical experience has logged back on (I never log off).
Continue reading “Ha? Ha!”
Broadway’s Summer, 1976 crisscrosses with a myriad of other art from this past year (and beyond), at least in a TLDW sort of way:
Continue reading “TLDW: Summer, 1976”
While we’re on the subject of natural vs. microphoned voice projection, a horrifying thought occurred to me while suffering through The Little Mermaid:
Continue reading “The Little Aid”
Being able to project your voice without the help of microphones is considered a lost art for actors of the stage today.
Continue reading “Projecting”
While we’re on the subject of A Doll’s House, it’s time to unleash my treatise on how many other shows overuse Ibsen’s iconic-cum-cliché ending, a tradition I’ve dubbed Pulling a Nora.
Continue reading “Pulling a Nora”
Is it possible to spoil theater’s most famous ending?
Continue reading “Her Boots Are Made for Walking”
No matter how many shows you see, stagecraft can always surprise, even through the simplest riffs on established norms.
Continue reading “Roving”
Should I change Write All Nite’s name to Write All Curtain Calls?
Continue reading “A Very Obsessed Man with Enormous Curtain Calls”