THEATRE GOSSIP #548: The “Can Sharon Scruggs Still Be in Suffs!?” Edition (2025)

I find Lindsay Mendez's constant absences so perplexing. You'd think being amongst the loving and supportive environment of that cast and the nightly cheering audiences would be great for anyone's health and state of mind.

But maybe she's physically ill? On and off?

Five?

How very heartless!

Audra sucked in this ALW Love Trio.

Both Judy Kuhn and especially Marin Mazzie outshone her here.

[quote]Mendez did the same thing during her stint at "Wicked". She barely did any performances but showed up for the 10th anniversary performance and the party afterwards. She isn't an 8 show a week type of performer but continues to get cast.

[quote]Nice to know that current Broadway stars have a work ethic.

[quote]Ask Audra about her work ethic when she's showing up for 5 perfs a week in "Gypsy."

This will probably be a controversial statement, but I don't think people of color have the stamina that white people do, particularly white men who have the constitution for endurance in battle.

Hence why it is mainly white men who tend to be daredevils, rock climbers, cavers, storm chasers, sailors, astronauts, etc.

When applied to the regular world, white men in charge can be taskmasters but they can also easily do 8 shows a week and practice/rehearse endlessly.

However, Broadway nowadays is mainly run by women and POC.

I want to believe R17 is intended to be parody, but then I have to remember that klangrannies like showtunes, too.

Jesus, R17

I’m upset by the Audra Gypsy thing. Yes, she is a great singer for what she does…but this is not the role for her and it shouldn’t be a vanity project just to say it was “her turn” to do it.

She wouldn’t sell tickets but Tonya Pinkins would nail the role.

LaChanze would nail the role.

HEATHER HEADLEY would be the best of the lot.

[Quote] Nice to know that current Broadway stars have a work ethic.

And yet “move star” Radcliffe never misses in any shows he’s done.

[quote]Mendez did the same thing during her stint at "Wicked". She barely did any performances but showed up for the 10th anniversary performance and the party afterwards. She isn't an 8 show a week type of performer but continues to get cast.

I wonder if she had the nerve to try to get away with such nonsense when she was working for Scott Rudin in CAROUSEL? I'm thinking not.....

r17 is also:

*Angry coffee shop shares video of inconsiderate ‘pop-up wedding’*

[quote]Black people have been really pushing it lately with the entitlement.

[quote](Enabled by white progressives.)

[quote]But the worm will turn soon enough.

[quote] Sincere question, [R27]...do you agree with [R17]?

No, I just don't like holier than thou tattletales.

[quote]Gloria Swanson wasn’t particularly fuckable

You're just looking at her through a contemporary lens, r38.

[quote]Judy Kuhn is a meskite.

And I'm sure you're not at all some bitchy, wrinkled old queen.

[quote]Audra's not a belter. She's got a powerhouse belt, but it's hard to imagine her singing Rose, who's down and dirty. This will be like Bernadette Peters' Wose.

Aw. Am I alone in absolutely loving Bernadette's Rose? Tyne and Patti were perfect Roses on paper and their casting made sense from day 1. I went into Bernadette's Gypsy deeply skeptical of her casting and came out enthralled. And, yes, I saw her later in the run when her illness and vocal problems were gone. And I thought her book scenes were just as strong as the musical numbers.

[quote]Norma's not meant to be unfuckable. That idea evolved over the years. She was just 50.

It true that Norma's not meant to be "unfuckable" in terms of her attractiveness, but there is supposed to be a significant age difference between her and Joe. And especially back in the day, it was considered very questionable for a young man to be involved with a much older woman. Which is a major reason why Joe is so uncomfortable with the situation.

[quote]Gloria Swanson wasn’t particularly fuckable

Them's fightin' words!

Although I have next to no interest in the show it was nice to see a full-page color ad for Boop! in the Sunday New York Times (print edition). As a young gayling in the hinterlands I loved going through the Sunday Times' Art and Leisure section looking at the ads for shows I knew I'd never see. (I also used to read the ABC listings.)

And speaking of the long-ago Times, you are still missed, Al. (And in this young photo you kinda look like a Datalounger.)

If Lindsay is missing as much as everyone says she is, I hope her understudy goes on to be a big star!

And fuck R17, I agree. Get your racism out of DL.

[quote]R24 The majority of film actors have an excellent work ethic because if they don't show up on a shoot day thousands of dollars are lost and they risk developing a bad rep.

They’re also used to 7:30 a.m. call times and working long days - even if much of it is spent waiting. So, depending on the physicality of the role, showing up at a theater for a few hours each night is no big deal.

[quote]R71 It's a different mindset and set of muscles,

True. Film star Beanie F couldn’t comfortably make the transition.

[quote] Film star Beanie F couldn’t comfortably make the transition.

When was Beanie ever a film star?

[quote]When was Beanie ever a film star?

She never rose above starlet.

I heard today from a very reliable source who worked on BOOP, that the company was told that the show will be "put on the shelf" for a year and hopefully restart next fall. Make of that what you will.

IMO the producers and creatives are very aware of the flaws and the need for reworking a lot of it but don't have the energy, funds or, most importantly, the know-how to fix it. right now

Make it a Helen Lawson vehicle, and the show sells itself!

Fools.

[quote] I feel like Wicked did that with Defying Gravity. However Wicked had wizard of Oz IP (kinda).

Wicked also has Stephen Schwartz, who can write a song.

[quote]She and their editors don’t know how to proofread

Maybe, but there are people who say that their pronouns are "he/they" or "she/they," and I have never understood if that means either/or.

Back in the day young men escorted ladies of a certain age. They were known a gigolos. And yes they did sleep with them. Will Holden was the perfect age for Joe. It was just that damn alcoholism. He still gets away with it though.

Billy Wilder was one when he was a young man. So he wrote from experience. He was a dancer in a ballroom for lonely women so one can easily assume it involved more than that.

I hate Bernadette Peters' cutie pie voice whether singing or acting.

The only time it works for me - and it's stellar - is as Dot in Act One of Sunday In The Park With George - otherwise include me out.

[quote]In a recent press release for a new show, one of the ensemble members self-refers with two different pronouns, as in "____ is excited to be making their Broadway debut" and, later, "she was previously seen in." Can anyone please explain the inconsistency for me? This is an honest question.

This is my honest answer: Who gives a fuck about this tiresome nonsense? Why cater to it?

[quote]Did someone say Funny Lady?

SHE WAS UNDER CONTRACT!

[quote]Dancers performed with sprains and singers performed when they could barely speak.

Oh, that sounds healthy.

[quote]I can't remember who, but there was some vapid celebrity who demanded people she she/they pronouns. Some article ran an interview or something, in which they used one or the other, and she bitched at them on social media.

I recall that as well, though I also can't recall who it was.

[quote]Apparently the she/they people demand that she and they be used in a 50/50 split.

If that's true, it's beyond ridiculous. A 50/50 split? What if there are an uneven number of references to the person that require pronouns? How can a 50/50 split be achieved in those cases?

[quote]but the disrespecting of a vapid celebrity's pronouns is OUTRAGEOUS and MUST BE STOPPED!!!

*You're* the one being a drama queen here, r115.

[quote]The song is insanely average.

That is very generous.

[quote] It was a joke, idiot

Aren’t jokes supposed to at least try to be funny?

The clothes are better in “Funny Lady.”

#Word

[quote]Aren’t jokes supposed to at least try to be funny?

Says someone who wouldn't know "funny" if it bit him in the ass.

[quote] Says someone who wouldn't know "funny" if it bit him in the ass.

Funny did bite me in the ass and then it told me you’re a moron

[quote]Funny did bite me in the ass

Pics please.

[quote]The clothes are better in “Funny Lady.”

No, r127, they are *not*.

It amazes me that Herimione was made to audition for A LITTLE NIGHT MUSIC. As if they couldn't imagine how she'd play the role or sing her song. t was as if Steve wrote ot for her. Who the fuck else could have played that role in 1973?

As some here may know, Tammy Grimes was a close second to Glynis for Desiree. And Tammy was brought in to sit in the back row when Glynis was showing some (unnecessary) nerves during previews.

Not exactly a rave for PRAYER FOR THE FRENCH REPUBLIC in the Times...

Yes, it's paywalled. Stop being so cheap and PAY for the Times subscription!

[quote]As some here may know, Tammy Grimes was a close second to Glynis for Desiree. And Tammy was brought in to sit in the back row when Glynis was showing some (unnecessary) nerves during previews.

As I recall from accounts at the time, Glynis was ultimately chosen because she showed more vulnerability as Desiree than did Tammy.

Tammy was originally offered the lead in "Bewitcheyd" but turned it down to do "The Tammy Grimes Show," a huge flop.

I think she may have also been up for the role of Lisa on "Green Acres" but lost that one to Eva Gabor.

Last night at Gutenberg! The surprise producers were AnnaE Hathaway and Anna Wintour.

As they were leaving the stage, Wintour joked, I'm the producer and she is my assistant.

In a recent Reddit thread about UK celebs behaving badly, ALW popped up:

[quote]Andrew Lloyd Webber driving into the middle of a funeral procession for a toddler who had drowned in a village next to where he lives (was in all the local news). Everyone else (including myself) waited patiently for the funeral cars to enter the churchyard, he drove straight through in his 4 x 4, even driving up the kerb. He obviously thought he was too important to wait. I can't stand him or any of his work since that day.

and

[quote]I used to work for a massive outside broadcast company, we covered all the massive events you can think of (Jubilee, Olympics) as well as all the major horse racing meets. We had a great clip saved on one of the EVS’s of Andrew Lloyd Webber at Royal Ascot (I think) picking the gunk out from his massive eyes bags and eating it. It wasn’t just one pick and done, he had a couple of goes at it

and

[quote]Reminds me of a brilliant joke by Tim Vine: I served Andrew Lloyd Webber when I worked in Burger King. He said "I want two Whoppers" so I said "You're good looking and I love your musicals."

[quote]Unitarian Church of All Souls

Our Lady of Cracked Face would be more appropriate.

What could be fun about this FOLLIES symposium is it will be a chance to ask questions of Ted that were not covered in his book.

One such (so far) unanswered question that has come up on some of my FB feeds from fan friends who are eagerly awaiting the event is: Why did they cast Justine Johnston as Old Heidi when she had no previous Broadway credits and was not a former opera singer?

[quote]r146 Tammy Grimes was a close second to Glynis for Desiree. And Tammy was brought in to sit in the back row when Glynis was showing some (unnecessary) nerves during previews.

Maybe the old girl was boozing it up again… the empty bottles piling up outside her dressing room door?

I can imagine the producers thinking, “Oh shit!”

[quote]Why did they cast Justine Johnston as Old Heidi when she had no previous Broadway credits and was not a former opera singer?

Who cares? She was wonderful. And with Victoria Mallory, she was magic.

[quote][R173], what is your point?

I posted it just to annoy you, r179. What a silly question.

R152, yes, Tammy played Madame Armfeldt at Williamstown in ‘94, with Ken Howard, Brent Barrett, the fabulous Maureen Moore, and human skeleton Joan Van Ark as Desiree. Tammy was already having memory issues, and one night began the song “Liaisons” as follows:

“In the Valley of the Jolly Green Giant… let’s start again, shall we?”

[quote]She played the Mayor's wife.

I HAVE a NAME!

[quote]"Mayor's wife" was less to type,

The Datalounge condoles your darling, mistreated fingers.

[quote]Whomever is doing Lempicka's marketing is genius

Oh, dear.

Do you all cringe at those red carpet photos of the "starry" guests at opening nights on Broadwayworld.com as much as I do? It's sort of a form of hate-watching, I guess.

I don't know how they get the bigger stars to stop and pose, the photos are always so unflattering, you can pretty much count on it, even for the few attractive people.

If true, I think those early reservations about Hermione for Night Music were insane. They were lucky to get her. Who else was up for it? Fifi D'Orsay? Ethel Shutta? Justine fucking Johnston??

Steve should have learned during Follies that a little camp was good or the pretentiousness of some of his work. Plus, Hermione was totally believable as Glynis' mother.

[quote]Steve should have learned during Follies that a little camp was good or the pretentiousness of some of his work.

Since you seem to have been on such familiar terms with him, why the fuck didn't you tell him?

If Sondheim actually had his way, A LITTLE NIGHT MUSIC would have played the weekend in the country three times as: a farce, a tragedy, and a comedy with a happy ending.

If Sondheim and Prince got what they wanted in the first place, we'd have a musical adaptation of RING ROUND THE MOON. I'm happy with the way things turned out.

[quote] Appropriate cancelled another performance due to illness last night. They've already got one cast member out with Covid. And they do have understudies.

Does anyone know why they aren't putting the standbys on? Yes, they will have cancelations if someone above the title is out, but the costs of canceling performances are very high and won’t the insurance company refuse to pay if they standby/understudy didn't go on?

I've been to shows where a major star (bigger than Paulson) was out and the understudy went on. What is going on there?

Hermione was surprisingly believable as a former courtesan. She was not a dog when she was younger, and she was very sophisticated and witty.

Margaret Hamilton had none of that. She wasn’t bad in the part, but she also wasn’t believable. Was there really no one else they could get for the tour?

Sondheim once cracked, “that woman never had a liaison in her life!” In regards to Margaret Hamilton.

He could as bitchy as Laurents and yet only Arthur got the scorn!

[quote][ R218], what was going at APPROPRIATE was the first understudy was deemed not good enough, which the producers didn't realize until they went on. It happens. Seems pretty clear to me. It's not always so easy to get the most talented people to be on standby and understudy.

r218, If you know the answer to this, how common is it for understudies to be replaced? I would think it is fairly uncommon for anyone to be replaced in a Broadway show because of the cost of buying out someone's entire contract. Unless, I am wrong, if you fire an actor after a certain point, you have to buy them out, unless they have given cause. Just not liking the performance, after a certain point, isn't enough, at least I think that's right. Btw, I have seen people with Tony awards and nominations standing by, which is interesting. I guess work is work

[quote] I think it was more about Hermoine not being believable as a glamorous courtesan in her youth.

If we can believe Jane Houdyshell was a showgirl, then we can believe anything.

I saw Margaret Hamilton twice on that NIGHT MUSIC tour and while she couldn't summon the sauciness of Hermione, she was still lots of fun. And I'd bet she sold that tour better than more appropriate actresses might have done. I certainly felt I got my money's worth. I mean, who wouldn't want to see Margaret Hamilton onstage in a Sondheim musical?

Who was disappointing on that tour? George Lee Andrews (who played Frid on Broadway) did not have the gravitas or age to play Fredrik to Jean Simmons' Desiree.

[quote]I think it was more about Hermoine not being believable as a glamorous courtesan in her youth. But in the end, it didn't matter.

Didn't that also apply to her character in "Gigi"?

[quote] Understudies are underrated. —Eve Harrington

But, Eve, you yourself said that you were merely the carbon copy you read when you can't find the original.

[quote]If Hattie were "glammed up" in any way, the point of the song would be lost.

Oh, pish, r249.

[quote] The original standby for Jim Parsons in Boys in the Band was replaced after he went on once.

Wasn't that Matt McGrath?

[quote]Correct, [R256]. I felt really bad for Matt when I heard that story. He's a great actor, and I don't know how reasonable it was to expect he would be line-perfect with only, I'm sure, a very limited amount of rehearsal time, if any.

Agree. Especially if you throw someone on in previews before they've had any rehearsal. The rule is you have to have a rehearsal before going on as an understudy, the problem is a "rehearsal" can be defined as anything from just running a few scenes on stage with the PSM or SM to a full put in with regular cast. Equity should require producers to engage understudies much earlier and have them rehearsed with an ASM parallel to the regular cast

r249, you miss the point.

When I said upthread that I didn't understand why they didn't "glam up " Houdyshell I didn't mean trying to turn her into a sex pot. I just meant something like what was originally done with Ethel Shutta -a sparkly brocade 2 piece suit a la 1970 grandma of the bride, maybe with a corsage. Like Hattie cared and got dressed to impress even if she was 80 years old. It was an endearing look and a very clever astute costume

Houdyshell looked like she was wearing no makeup with frowsy unstyled hair in a dumpy dull suit, like a crazed homeless person who wandered in off the street not knowing where she was going. It was a very strange choice. OTOH the sexy Linda Lavin Hattie dress is also all wrong in the opposite direction.

[quote] Houdyshell looked like she was wearing no makeup with frowsy unstyled hair in a dumpy dull suit, like a crazed homeless person who wandered in off the street not knowing where she was going.

This is what Houdyshell always looks like. You could shoot her in the face with a makeup gun set to "whore" and she would still look like the twin Julie Bovasso killed in the womb.

[quote] Don't forget the distressing on Ethel's costume, [R260]. Hattie had worn that ensemble more than a few times.

Yvonne DeCarlo tried to do it the natural way by fucking Ted Chapin on top of it, but in the end, they had to have a seamstress do it.

[quote]Who was disappointing on that tour? George Lee Andrews (who played Frid on Broadway) did not have the gravitas or age to play Fredrik to Jean Simmons' Desiree.

I quite liked him in the 1990s NY City Opera production. I didn't realize he played the role that far back. He would have been in his early 30s then, no? Perhaps since Cariou was in his 30s then, they cast the role that way in the tour? Still, age on the page shouldn't matter, it's how the actor reads. I doubt Cariou ever read 'young' -- her certainly passed as an older man in the original Night Music.

[quote]I doubt Cariou ever read 'young'

That came in handy opposite Betty.

[quote]Margaret Hamilton… wasn’t bad in the part, but she also wasn’t believable.

I don’t think all courtesans made/make it on their looks. Of course beauty would help, and is sometimes enough, but it could also be about creating a world of comfort and warm pleasure that the patron enjoys. Some prostitutes report that a lot of clients mostly want to talk.

But I do understand that Margaret Hamilton isn’t obviously sensual. (Tho maybe her young Madame Armfeldt was a dominatrix??)

I passed Helen Hayes backstage in the 80s. She was visiting a cast member after the show.

She was TINY. And dressed in a trim but drab tweed coat, plus a small hat. The house manager led her carefully through the dark.

Now I wish I’d doubled back to eavesdrop.

[quote]playing the villain in a famous production of Three Sisters.

A regular Shelley Winters!

[quote]How ever did Helen Hayes get a theater named after her (and in her lifetime!) if she was such a mean bitch?

Because the cunt was the First Lady of the American Stage.

[quote]In finality, may I share that I think Liaisons is a boring song? I always skip it on the CD.

It was always a 'skip' for me... until I saw Regina doing it. Absolutely marvelous. I know Hermione is beloved but I think Regina is the definitive Mdme. A for me!

To be fair to Margaret Hamilton, did Elaine Stritch ever have a liasion either?

DL said John Bay was actually gay and she foolishly left Ben Gazarra because of a crush on rock Hudson.

So who ever liasioned her?

[quote]In finality, may I share that I think Liaisons is a boring song? I always skip it on the CD.

It becomes boring because it's too long. I saw a production in which the song was cut down a bit, and though I'm sure Sondheimites screamed about that, it was an improvement.

[quote]Altogether satisfying and having seen the original several times, probably the last major version I'll ever see.

You won't see the Sweeney Todd re-imagining, starring Wayne Brady and Fantasia?

[quote]I have to assume that Hayes, like Ruth Gordon, were as great in their prime as accounts would have it, but by the time of ALNM, Hayes was giving the same cloying little old lady performance in everything.

I don't agree. I remember reading the novel AIRPORT, and when I heard that Hayes was cast as Mrs. Quonsett, I absolutely pictured a stereeotypical, sweet, cloying, little-old-lady performance. But when I finally saw the film, I was surprised to find she doesn't play it that way.

That said, I'm not sure she would have been right for Mme. Armfeldt.

[quote]Shucked is being made into a movie

Sure, Jan.

[quote]SO who would be a good Armfeldt right now?

Harvey Fierstein

[quote] The Skinner basher is back

Some might say the Skinner loon is back.

[quote]SO who would be a good Armfeldt right now?

[quote]Harvey Fierstein

He'd be perfect for any "Night Music" production being staged in Hell.

[quote]btw [R301]: not unfunny because it’s racist but because you picked two singularly unfunny choices

You are really triggered by that, aren't you? Pity.

[quote]great though the voice is, I've never seen the slightest evidence that Andrea McArdle has even a wisp of acting ability.

The same could just as well be said of Ethel Merman.

[quote]Ethel was loud and "presentational" but she definitely could act and land a joke better than almost anyone.

Agreed. She did earn something of a reputation for not being able to act, and that was because, according to reports, she would sometimes "walk through" performances of her long-run shows as the runs continued. There's evidence of this on audio recordings of HELLO, DOLLY! But of course, she didn't walk through any of her film or TV performances, and those are the ones that last (plus her great performances on all those cast albums).

[quote] Nothing against it, but it's been waaay overdone and works best in the context of the show not yanked out of it.

Funny, just watched this clip from a PBS special in the last week or so and thought it was a bit fresher - agree in general it's overdone, though. (SITC starts around 19:15)

[quote]My guess is she's trying to impress everybody by focusing on the power... she's either not being directed well or just can't get to the character.

Also, there seems to be a deplorable, newish trend in productions of new shows and revivals that female characters cannot ever appear to be emotionally vulnerable, lest they be perceived as "weak," and must ALWAYS be operating from a position of power. I would guess that's at least partly responsible for what's going on here.

[quote]Charlotte St. Martin is getting out of Dodge.

This is way overdue. Like, 18 years overdue.

[quote] I don't think she's stupid

Then you've never seen an episode of The Masked Singer, because she comes across as a brain donor there.

..and here's Cleo Laine's version.

FYI, I never skip Liaisons on recordings because it is one of the more difficult songs in the score to sing effectively. If they nail this number, I know it's a good production.

The other difficult song, IMHO, is "Every Day A Little Death". It's subtle but effective if done right.

Would "A Weekend in the Country" work without the brief snippets of dialog for Desiree and Fredrika between the sung scenes? It's thrilling on the OBC without them and just builds and builds to the big finish for act one. Could that mother-daughter dialog be done right after Madame Armfeldt agrees to host Desiree's guests and before Anne and Petra open the invitation? Or would the Sondheim estate/licensers put a quick kibosh on that?

Every time I see ALNM (not often...) I always forget that dialog is in there, and while I don't *hate* it I think without it "Weekend" would be even more effective.

r376

I feel the same about You can't stop the beat in Hairspray... I was quite shocked when I saw it in person as it is quite different on the OBC

Another reason not to skip Liasions, Jonathan Tunick's gorgeous orchestrations. I mean... the way it starts with the orchestra descending delicately down like some perfume scented mist on a balmy summer night. MARY, I know!

We are so fortunate that Tunick worked with Sondheim. The scores will always be genius, but they could have been... lessened by a serviceable orchestrator.

The Sweeney Todd MD has done a series on the score on their Instagram. Many of the posts are related to Tunick's orchestration. Really interesting stuff for nerds like us...

The movie @ R291 is the one that features a future porn star in a major role.

Helen Wood used the name Dolly Sharp when she did DEEP THROAT and other triple X fare.

^^ Helen Wood/Dolly Sharp also did Broadway:

Gentlemen Prefer Blondes (Dec 08, 1949 - Sep 15, 1951) “Dancer”

Seventeen (Jun 21, 1951 - Nov 24, 1951) “Emmie”

Pal Joey (Jan 03, 1952 - Apr 18, 1953) “Kid”

Ziegfeld Follies of 1957 (Mar 01, 1957 - Jun 15, 1957) “Dancer,” “Singer,” “The Girl”

[Quote] According to Washington, Rajtik then said no apology would be coming, to which Washington reacted by sticking up her middle finger

[Quote] “Hair is so charged in general and especially for black women,” Washington, who also serves as a DEI consultant, explained

DEI consultant who flips the bird in a meeting. Perfect.

[quote]Helen Wood/Dolly Sharp also did Broadway.

I think she later changed her name to Helen Highwater.

I’m kind of proud of any slighted actor who tells management to STICK IT. Not sure it’s good for her career in the long run, but at least she can sleep at night. And you can be sure they‘d have been more indulgent with a white performer - especially a male.

As to wigs, as Edith Head said wearily, “You can lead a horse to water, and you can sometimes make it drink. But you can’t make actresses wear what they don’t want to wear.”

In the film Dinner at Eight Marie Dressler gives a wonderful performance. The character was in her youth a beautiful star. Everyone points out that Dressler in her youth would never have been a beautiful star but she gives such a great performance she make you believe she once was one.

When Ingmar Bergman came to New York he saw the musical and said to Prince in reference to Gingold, 'She certainly likes to fuck the audience.' The character in the movie is much more subtly played.

[quote]I’m kind of proud of any slighted actor who tells management to STICK IT. Not sure it’s good for her career in the long run, but at least she can sleep at night. And you can be sure they‘d have been more indulgent with a white performer - especially a male.

Management had no obligation to accommodate her desire to wear a wig unless they were contractually obligated to do so. Not for nothing, this is a professional engagement and failing to realize that a professional setting does not exist for you to play out your drama and narcissistic need to be some kind of patron saint for women who want to wear wigs in productions that don't want them to wear wigs is what will affect her career. HER CONDUCT, not her request, is the issue.

If Zuri Washington had specific needs around controlling whether she wore a wig or not, she should have negotiated that in the form of a rider. Keep in mind, hair design is a profession, just like acting is a profession. If wearing a wig was that important to her, she should have made that a condition of accepting the offer. Actors do that. If she couldn't negotiate that, she probably wouldn't have gotten the job.

[quote]And you can be sure they‘d have been more indulgent with a white performer - especially a male.

Doubt it, since it was an all-female cast.

[quote]I’m kind of proud of any slighted actor who tells management to STICK IT. Not sure it’s good for her career in the long run, but at least she can sleep at night. And you can be sure they‘d have been more indulgent with a white performer - especially a male.

That may very well have been true years ago, but in the current climate, I'm pretty sure that the opposite is the case, and if anything, management would have been MORE inclined to indulge a black woman (or man) than a white man. Do you seriously believe otherwise, and if so, are you speaking to use from the past through a time warp?

[quote]I hope STEREOPHONIC wins a Tony for David Adjmi and he sticks it up Sean Hayes' ass.

An Emmy would do more damage.

[quote]David Adjmi had written a play about Oscar Levant for Hayes at his request

I believe the idea of a Levant play originated with Adjmi.

[quote] Anyone viewing video of Oscar Levant would see that Sean Hayes’ performance was spot on.

Was it an impression or a performance? Is accuracy the measure?

[quote]Anyone viewing video of Oscar Levant would see that Sean Hayes’ performance was spot on.

That's where we disagree, so no, not "anyone" viewing video of Levant would see that.

[quote]Was it an impression or a performance? Is accuracy the measure?

Since it seemed clear that Hayes was trying very hard to ape the mannerisms and voice of Levant, I would say accuracy was at least partly the measure in this case.

r426...

[quote]Washington, who was one among many women, nonbinary, and transgender people of various races to play the Founding Fathers, expressed to production that she wanted to wear a wig in the show because she was not comfortable performing in her natural hair. However, the hairstyle that production desired did not involve a wig ... and Washington was allegedly told this information five days before they were set to perform.

[quote]According to the complaint, other Black actors who had similar concerns about their hair plans and who also expressed a preference for wearing a wig were likewise kept in the dark. Meanwhile, production was quick to accommodate white actors by providing them with wigs on demand, the complaint says.

[quote]Who is saying that the white women of 1776 got wigs?

It's in the "complaint." Since she's claiming racism, she has to give what she thinks are examples of said racism.

[quote]Who is saying that the white women of 1776 got wigs?

I only got three-quarters of one.

[quote]Remind me why we want to damage Sean Haye's ass?

Oh, DEAR.

[quote]The DL Apostrophe Abuse Monitor

What a rich, full life you must lead!

[quote]Was it an impression or a performance?

It was a performance! Full of fire and music!

[quote]Was it an impression or a performance?

I didn't even get a nomination.

[quote]The DL Apostrophe Abuse Monitor

[quote]What a rich, full life you must lead!

It's certainly a busy life, with all the illiterates who post here!

You know things are bad when a featured performer in a tour of a musical that bombed, is suing those producers who hired them, when they themselves admit that they cursed and hit chairs during an encounter they are now saying was a result of an unkept wig request.

No wonder LuPone left Equity.

[quote]Is Beth Leavel the new Carmen Matthews?

Maybe she's the new Irra Petina.

Leavel Lempicka alone!

Shaina Taub is a meskite, meeskite or even mieskeit. So is Oscar Levant.

Every time I see some post about Washington and 1776, all I keep thinking is George Washington isn't even IN 1776.

And I agree that Sean Hayes wasn't remotely like Oscar Levant in that show. I kept thinking that he certainly did his work to get all those tics and physical movements. But after a few minutes, it became sooooo annoying. All I thought about was Robert Morse in Tru. Morse started the show by doing a perfect imitation of Truman Capote, but then after 5 minutes toned it down to just a suggestion. Brilliant. (Hayes did play the piano really well, though.)

[quote]I agree that Sean Hayes wasn't remotely like Oscar Levant in that show.

Thanks. And yet some people here keep INSISTING otherwise.

Sean Hayes’ performance in Goodnight, Oscar was absolutely superb.

Those who feel otherwise either did not see the play, have no knowledge of Oscar Levant or harbor feelings of envy that another gay man achieved a tremendous success while their lives are vacuous and incredibly sad.

I read the linked article about the financial issues at St. Louis Rep but don't get the sense of "chaos" beyond the usual new AD programming somewhat more diverse and challenging plays and the usual growing pains all regional theaters are now going through.

And then she was hired away by the far more sophisticated Arena Stage in DC. What am I missing?

[quote]Harmony posting closing notice.

[quote]Do we not care that Harmony is closing?

[quote]We didn’t care when it was opening. Why should we care when it’s closing?

I think HARMONY would've been a smash hit in the '90s.

It was the 50th anniversary of WWII and Holocaust-themed movies/TV did very well.

Jews had a lot of goodwill.

Not so much post-October 2023.

I don't think PARADE would've been as successful had it opened now instead of last spring.

The British just won't stop until they've reduced every orchestra to... what is this? it sounds like... 4 musicians? So dinky. FWIW, I saw the excellent Pacific Overtures production at Signature (DC) last year.. or was it the year prior? Either way, that production had a reduced orchestra.. but of about 12 musicians with an excellent reduced Tunick orchestration, a very strong cast and involvement of John Wiedman in the production, too.

Trailer for the bloody Chocolate Factory revival...

Someone recently posted about Ethel Merman occasionally walking through performances. I was doing a search on Ethyl Eichelberger and ended up at this farewell entry from a retiring Rhode Island critic. In it they said:

[quote]It's a rare talent who can capture in prose the magic that is live theater. TV or film may show you what was happening on stage, but they can seldom capture the electricity that can run between the audience and the actor…

[quote]Ethel Merman? When she was good she was very, very good. When she wasn't, she sleepwalked through her roles. She never missed a cue, but the energy wasn't there. That's how I remember her in a 1966 revival of "Annie Get Your Gun." (The energy was there Oct. 6, 1978, when she did her nightclub act at the opening of the Providence Performing Arts Center.)

[quote]She also gave me one of the worst radio interviews I've ever suffered through, although I'm told that others thought it was screamingly funny. I talked with her before that PPAC appearance, and she spent the entire time not remembering anything I mentioned about her life, even though we talked shortly after the publication of her autobiography. Wonder if she read it.

[quote]What do Lahr and Cornell and other greats have in common? An ability to reach across the footlights and grab an audience.

[quote]If you get on Twitter, the hatred against Jewish people right now is insane

Lol, r484, well that's Twitter for you.

Aaron Tveit played 'Enjolras' in that film.

I wonder if it'll inspire people to go see him in SWEENEY, which opens around the same time.

I know he has a lot of fans because of that movie.

Those criticizing the Menier productions, have you actually ever seen anything there?

I've seen a lot of their productions over the years and while they're not all great or even good, but the space is extremely small an intimate and.....cozy. And it's always part of the charm when a production succeeds, including the simple and sometimes rather primitive sets. I have no opinion about their new revival of Pacific Overtures, but I'd doubt it could withstand a big orchestra. It would probably overwhelm it.

The Menier's aesthetic is not Broadway style/sized spectacles. It's no doubt why some of their productions that have moved have not succeeded.

I may start another thread on this - but I’m thinking of looking into local theaters to act with or to direct something at. I’m near a major city but I don’t think it has any professional companies. I’m kind of horrified by that idea (having worked professionally in NYC and LA) but I’ve been going through a depression, and a while ago I thought “God, the only thing I’d want to get out of bed for is to attend a play rehearsal or choir practice or something.”

Somewhat OT, I know.

R493 Another birthday's here and gone, you've turned another page

And suddenly you realize that you've reached middle age

Just think of all the fun you've missed; it makes you kind of sad

It's better to have had your wish than to have wished you had!

[quote]Does the Chocolate Factory's Pacific Overtures include Chrysanthemum Tea?

No, but it will be served at intermission.

[quote]No, but it will be served at intermission.

Does it come with cornbread?

[quote]I've seen a lot of their productions over the years and while they're not all great or even good, but the space is extremely small an intimate and.....cozy

If there is one musical that should NOT be cozy, it is Pacific Overtures.

I saw both the original Follies and Pacific Overtures twice each and never plan on seeing them again. It seems the height of idiocy. Like going to see a remake of Citizen Kane or 2001. I made the huge mistakes of seeing Company at NYU and Merrily at Encores. Well I've learned my painful lesson.

Saw Here We Are this week. The most inane title in the history of the theater. First half wonderful Sondheim. Really good. Second half a terrible play by David Ives. Even the wonderful David O'Hare who was so brilliant in the Sondheim musical becomes very annoying in the second half. If somebody hadn't paid hundreds of dollars for my ticket I would have walked out. To be fair the audience loved the Ives' play as much as the Sondheim musical.

Here We Are, title and show, really got to me. Sondheim’s last work almost spoke from the grave, both with its acceptance of mortality (regardless of how fortunate you are, which he was) and for the hole left when we literally see the end of his career onstage. Here we are, until are not.

God knows what his personal life really was like, but his professional life had an incredibly graceful arc. First as the up and coming youth, then as the bold and controversial new voice, then as the has been, then as the institution. It is the height of irony that his last show left the usual naysayers complaining that they wanted MORE of his (“atonal”) music.

[quote]I thought Stereophonic was the best play I've seen in years. The director is really good with photorealistic staging. How that will play in a >500 seat house remains to be seen.

I think people like you sometimes place too much emphasis on the size of the theaters when they worry about an Off-Broadway show transferring to Broadway -- especially when the Broadway house involved in one of the smallest. It's annoying how sometimes people parrot a complaint or criticism that they've heard before even when it doesn't really apply.

[quote]It is the height of irony that his last show left the usual naysayers complaining that they wanted MORE of his (“atonal”) music.

In what way is that the height of irony? I'm pretty sure that the people who have been complaining about the lack of music in Act II of HERE WE ARE are Sondheim fans, rather than being among those people who are stupid enough to label his music "atonal."

The Here We Are score is shite.

Emily Skinner as Daisy Prince in

NEPO TO ME ONE MORE TIME

[quote]Those criticizing the Menier productions, have you actually ever seen anything there?

[quote]I've seen a lot of their productions over the years and while they're not all great or even good, but the space is extremely small an intimate and.....cozy. And it's always part of the charm when a production succeeds, including the simple and sometimes rather primitive sets. I have no opinion about their new revival of Pacific Overtures, but I'd doubt it could withstand a big orchestra. It would probably overwhelm it.

[quote]The Menier's aesthetic is not Broadway style/sized spectacles. It's no doubt why some of their productions that have moved have not succeeded.

R491 - my quibble is not with Menier (or any of the other regional theatres in Britain) that do these more intimate productions. My problem is with the producers who then decide to transfer these productions to the West End and Broadway. I get that economics of Broadway are tough, but it's such a shame that a generation of theatregoers is growing up with these reductions as the supposed gold standard. Whatever its faults, thank goodness the latest Sweeney revival plays the score as it was meant to be heard on Broadway. Same for the Bernie Follies revival -- imperfect, sure, but that score sounded magnificent.

[quote]Saw Here We Are this week. The most inane title in the history of the theater.

Good thing OKLAHOMA! didn't go with its original title -- AWAY WE GO! -- because I think that would have given it a run for its money.

[quote]Good thing OKLAHOMA! didn't go with its original title -- AWAY WE GO! -- because I think that would have given it a run for its money.

And now "Away We Go" is still available when someone decides to put together a musical based on the life of Jackie Gleason.

We agree on the lack of care in Menier transfers. A few years ago I saw the most charming intimate revival of The Boyfriend there but shuddered when I heard it would be transferring after a tour to the West End. I think Covid might have stopped it in its tracks.

But even the full orchestra in that Follies revival( for me) couldn't make up for terrible direction and misguided performances

[quote]First half wonderful Sondheim. Really good. Second half a terrible play by David Ives.

That's the best and most succinct summary of the show I've seen. Kudos.

[quote]My quibble is not with Menier (or any of the other regional theatres in Britain) that do these more intimate productions. My problem is with the producers who then decide to transfer these productions to the West End and Broadway.

I feel the same. But one of the producers chiefly responsible for the transfers is the artistic director of the Menier Chocolate Factory, so he bears a huge amount of the blame for the fact that the shows and their orchestras -- excuse me, combos -- are not beefed up for Broadway.

[quote]Good thing OKLAHOMA! didn't go with its original title -- AWAY WE GO! -- because I think that would have given it a run for its money.

I like the second title better "Ado Annie Is A Slut".

So no one cares to discuss my big community theater comeback.

I see what I’m dealing with - -

[quote]So no one cares to discuss my big community theater comeback.

How to Act in Ohio!

[quote]They could've kept the title of the source material.

It just wasn't done back then. Even "Breakfast at Tiffany's" was originally titled "Holly Golightly," until the movie title was substituted in an act of desperation.

[quote]Lynn Riggs, who wrote Green Grow the Lilacs, was gay.

Small wonder. Who names their son Lynn?

Here We Are is a perfect title for this last Sondheim musical. It reminded me of Waiting For Godot, especially in the second act. Although a lot happens, nothing really changes. In true absurdist style, Here We Are becomes Here We Are Again...

Oh, and I loved the show and thought it was cast well.

IMHO

[quote] [R548], it's pronounced "Florenzzzzzz."

Who names their son "Florenzzzzzz”?

[quote]It just wasn't done back then. Even "Breakfast at Tiffany's" was originally titled "Holly Golightly," until the movie title was substituted in an act of desperation.

I like the second title better "Holly Golightly Is A Slut".

[quote]I live in St. Louis and that article is actually polite. The AD was terrible, and it had nothing to do with "challenging plays" or diversifying the audience.

In the wake of the George Floyd riots (post-2020), in their attempt to "diversify" theater (i.e., make it "less white") many "woke" progressives nationwide staffed their theater companies with incompetent POC who don't know what the hell they're doing and who lack punctuality and a strong work ethic.

Neither talent nor constitution for the job is a priority for progressives when hiring/casting, just (dark) skin color, which means that many talented whites, especially white men, were dismissed or not even considered.

All in a vain attempt to draw in more POC in the audience.

Of course, that has backfired big time.

And it's happening everywhere liberals have power.

More famously at the 2022 Oscars, when winner Will Smith slapped presenter Chris Rock on live TV, which was being hailed/advertised as "the first Oscars produced by an all-black crew" weeks before the ceremony.

Now, it has the distinction of being "the worst produced Oscars in history."

The fact is, theater IS white people's domain, particularly white men.

It would be like trying to "diversify" the NBA, which is predominantly black for good reason -- they tend to dominate sports that involve running and jumping.

But if they tried to make is "less black" and "less male-dominated" with lesser female and white/Asian/Latino players and coaches in an attempt to be "fair," it would just ruin the game, because talent would not be involved at all.

And people would stop watching/going.

Just like the WNBA.

And current live theater.

not a great rebuttal, r560

I'm a liberal at a liberal theater company and some of what r560 says is true, minus the racial slurs and generalizations. A lot of our non-white hires have turned out great. Too much black programming has led to decreased tickets sales all around; the black audience has not yet replaced the lost white audience. Just as blacks say the theater's longtime programming wasn't particularly relevant to them. some of the white audience is saying the same thing. In terms of work ethic. a lot of the traits you're ascribing to black hires actually applies to [italic] all [/italic] young hires.

“the racial slurs and generalizations….”

Please, you buried the lede. The poster wasn’t trying to make a valid point about the theater. The poster was being an asshole bigot. Full stop.

[quote]Wigs on Demand! is a musical I'd rather see than 1776.

Me too!

[quote]The poster wasn’t trying to make a valid point about the theater. The poster was being an asshole bigot. Full stop.

And yet, almost every word of what that poster wrote was true, despite some generalizations and some questionable language.

And yet, almost every word of what that poster wrote was bigoted, including generalizations and much questionable language.

FIFY

[quote]Neither talent nor constitution for the job is a priority for progressives when hiring/casting, just (dark) skin color, which means that many talented whites, especially white men, were dismissed or not even considered.

R565, you may feel there is some racism in the post in question, but many of the things that poster wrote -- including the point above -- are simple truth, however unwilling you and other may be to face that fact.

In my city (Black majority city in the deep south where the suburbs are white majority), we have no LORT theaters, just a couple of largish semi-pro companies and a lot of community theaters. One of the largish companies has embraced diversity hires. Some have been excellent and there has been some cross racial casting that would not have happened in the past which has been revelatory. It has, unfortunately, created situations backstage and on creative teams that have exploded into major dysfunction (such as the Vietnamese hair and wig master being told she can't hair design for POC as she doesn't understand black hair or a talented POC being hired as an assistant and then not allowed to speak or contribute as they are obviously just there for show.). They also, unfortunately, continue to ghettoize a lot of the Black talent in town into the February 'Black' show, often with subpar creatives hired because they are POC. From what I can tell, it hasn't helped them diversify their audiences much. The Black audience turns up for the February show but that's about it. They continue to sell predominantly to white suburbanites.

We have one theater company in town that is Black run and that concentrates on Black theater. They are always on the verge of going belly up as the local Black community won't support them through donations. Their few major donors are all White liberals who want to see them succeed. Their audience is Black and very few White people will attend their shows as their stage is located in a Black neighborhood and White audiences are afraid to go there after dark even though it's perfectly safe.

[quote]Present your argument, [R569]. Don't just write something you consider pithy. There are arguments to be made, but you are taking the lazy way out. So far, all that has been presented is "racist." Let's hear why.

Exactly. We're waiting, R569. But whatever arguments there are to support your position, I doubt you're articulate enough to make them.

[quote]I would hope one thing we can all agree on is that achieving true diversity in the theater in America is EXTREMELY difficult due to the shameful history of this country in terms of slavery and racial equality.

At one pt, yes. However, today, the diversity in theater ( which would be ideal, since theater is supposed to be a catalyst for diversity) has been severely hindered, not by racial inequality as much, but by producers and backers who feel that it is their duty to blindly fall into the quota trap. " I have a great idea: We must have a production of a classic musical and substitute the main male lead with a black woman." Why? Because that's supposed to be contemporary sensibilities. Productions are rushed into the market with the title " re-imagined for a contemporary audience," which is bullshit for " We're too lazy to produce substantial work, so we will just take a well-known show and substitute cast. The audience will buy that." No, in order to achieve true diversity in theater, the entire craft needs to undergo a transformation in which art and truthful narratives take precedence in imagining new projects. Cast the best people in order to push the art of theater forward; subsidize writers who will tell the truth and present compelling drama. This not only goes for racial narration, but the gay and challenged communities, as well as the plethora of stories of people yet to be told. Of course, producers are primarily interested in profit ( that's their whole reason for employment), so it is probably a pipe dream. But, I bristle at an all-female, non-binary and trans version of " 1776," because it's absurd and done merely for a gimmick. How about taking these same actors and crafting their stories and situations in which they can shine, rather than being buffoons in trying to portray historical figures?

You've got to love the tired old "Why can't they just pick the best PEOPLE?" line. Right . . . because pre-"woke," that's what always happened. Nobody got jobs because of connections, or because of nepotism, or because (yes) they were white and male -- it was all 100% based on the best person, period.

Symphony orchestras have made progress in this way because they can do blind auditions -- the player performs from behind a screen, and the listeners can only judge what they hear. Suddenly, more women and POCs got hired. Alas, so simple a solution isn't available for casting or appointing artistic directors or a host of other things.

Everyone who's upset about the evils of so-called "woke-ism" in the theater -- what's your actual real-world, practical solution? Because saying "just hire the best people" begs the question.

Of course r559 is also:

[quote]This will probably be a controversial statement, but I don't think people of color have the stamina that white people do, particularly white men who have the constitution for endurance in battle.

[quote]Hence why it is mainly white men who tend to be daredevils, rock climbers, cavers, storm chasers, sailors, astronauts, etc.

[quote]When applied to the regular world, white men in charge can be taskmasters but they can also easily do 8 shows a week and practice/rehearse endlessly.

[quote]However, Broadway nowadays is mainly run by women and POC.

[quote]Everyone who's upset about the evils of so-called "woke-ism" in the theater -- what's your actual real-world, practical solution?

Re-imagine every production, then let Broadway go bankrupt and disappear forever.

So R559 etc. is a bigot across multiple threads. I’ll give him that much, at least he’s consistently an ass.

But you all go on and keep defending him. Good on you…R570 and more

[quote]How long are you going to go on patting each other on the back?

As long as it keeps annoying you.

Really, r589, you don't find this bigoted?

[quote]This will probably be a controversial statement, but I don't think people of color have the stamina that white people do, particularly white men who have the constitution for endurance in battle.

Hint: It is.

[quote](We have no idea.)

There's one way to find out, r593...are you new to DL?

[quote] There's one way to find out, [R593]...are you new to DL?

It's not important to the discussion at hand, which is whether the comments we're discussing are racist.

Someone could scream the N word in a crowded Compton neighborhood, and then come on here and say that the majority of black themed shows Broadway has mounted in the past four years have been flops.

The first part would be considered racist, but it would have no bearing on the fact of the second part.