Lyn Gardner asks, “Are theatre critics covering the right shows?”
Getting new work seen is getting increasingly harder for new artists (writers, directors, devisors) because of how much work is out there between pop-ups, venues, festivals and more. Gardner says that while she sees at least six shows per week, she is barely scratching the surface of the range of work going on in the UK at large.
“In a culture where the lines between preview and review are often increasingly muddied, do we really want to end up with a situation where the preview takes precedence over the review and the only shows that get reviewed are those with a PR attached?” Gardner asks.
At a time when there are more and more venues (and this is often the case in Dallas too, or so I’ve found), it is always the same venues that get all of the attention.
Lyn Gardner is always on point with her blogs and this one certainly does not disappoint.
“Pieces of the roles you’ve played stay with you,” said actress Bernadette Peters in a recent article for The Guardian. “You have your own experience of a show as a performer and then each of the audience members has theirs, too.”
After a 10 year hiatus from the stage, Peters was brought back to Broadway to act in Stephen Sondheim‘s Sunday in the Park with George. She speaks of Sondheim as a pioneer – someone who is ahead of his time and believes that his works are beautifully constructed. She said, “I used to wait every night to be able to sing Move On, which got to be like meditating – it was so healing and uplifting.”
Who would be your dream cast of GREASE if it went live on the air?
After the televised version of The Sound of Music live featuring Carrie Underwood and True Blood’s Stephen Moyer drew 18 million viewers and prompted NBC to develop more classic musicals for television, this idea seems logical.
The musical debuted on Broadway in 1972 and was revived in 2009. It became an iconic film starring John Travolta and Olivia Newton-John in 1978.
But casting is everything. After the hubbub caused by the lack of appreciation for Underwood’s acting from the entertainment community, I urge the directors and producers of Grease: Live to choose wisely about the actors they get to play the two iconic roles of Sandy and Danny.
Brown Bag opened this afternoon to a full house! For more information about the rest of the week’s performances, visit http://mcs.smu.edu/calendar/node/1005 .
Seven projects happening in Meadows theatre right now. Check them out!
SMU Student Theatre (SMUST) Presents The Brothers SIze by Tarell Alvin McCraney.
Directed by Mia Antoinette, the play features William Sinclair Moore, Seun Soyemi, and Jakeem Powell
May 2 at 7:00pm
May 3 at 4:00pm and 10:00pm
May 4 at 2:00pm
“A man that hath friends must show himself friendly: and there is a friend that sticketh closer than a brother.”
-Proverbs 18, Verse 24
True West By Sam Shepard will play in B450 from May 2-4, 2014.
Directed by Dylan Bare, the performance includes Nicholas Costello, Thomas Valentine Gelo, Dalton Rayce Fowler, and Stephanie Machado.
and a whole ton of crickets
Fri. May 2nd 10pm
Sat. May 3rd 2pm
Sun. May 4th 8pm
Here is the BoulevART’s Stage set.
Along with this schedule, there will be tents with set-ups all day: screenings, artist talkbacks, workshops, installations, creative computation works, open mic, and more.
“She dazzles with the bright sheen of her voice, yes, and slings wry jokes with the ease of a diner waitress slapping down plates of eggs and grits,” The New York Times critic Charles Isherwood writes of actress Sutton Foster. “But she also brings a prickly emotional intensity to the moving story of a woman grappling with shame, self-delusion and the fear that a deformity will forever leave her standing alone outside the circle of humanity.”
This is a review on Violet on Broadway – or should I say Sutton Foster’s performance in Violet on Broadway. What makes this review special is its lede, which hooks those in the crowd who are Sutton Foster fanatics.
Drama critic Charles Isherwood writes, “When Sutton Foster appears on Broadway, she’s usually boasting a sunbeam smile, flapping away in tap shoes, clowning around amiably and generally behaving like a girl determined to nail the talent competition in a beauty pageant, and maybe take home the Miss Congeniality award, too. But pep-allergic people will not need to steel themselves to see the terrific, heart-stirring revival of “Violet,” the musical by Jeanine Tesori and Brian Crawley that opened at the American Airlines Theater on Sunday night, starring Ms. Foster in a career-redefining performance.”
Isherwood does an excellent job at appealing to an audience of Foster fans as well as the theatre crowd in general by giving background on several other members of the creative team of the show.
What is especially notable about this show is that it is not Foster’s and Jeanine Tesori’s first time working together. Tesori wrote the score for Thoroughly Modern Millie, where Foster originated the role in the stage adaptation in 2000.
For the full article, visit http://www.nytimes.com/2014/04/21/theater/violet-starring-sutton-foster-opens-at-roundabout.html?ref=arts&_r=0