Profile for TheatreMonkey

60'splayoff said: "TheatreMonkey said: "60'splayoff said: "... I just feel for the creative team because those comparisons are inevitable and the timing isn't ideal."

I totally agree that comparisons are inevitable -- and somewhat unfairly, since this is quite different beyond surface level similarities -- and an unfortunate stroke of luck for a project that's been in the works for quite awhile. And I was just being a cheeky mo

PipingHotPiccolo said: "this has to be the dumbest named show in a long while. i was on subway platform today and overheard tourists just looking at the different posters (oh we saw six, oh id like to see cabaret) and they just did not know what to make of a gay jamboree. as im typing this i cant even tell you what its really about, and i say that knowing how talented marla mindelle is."

Well, they probably couldn't get away with Gay Schmigadoon Redux...

Jay Lerner-Z said: "Ten percent of profits will go to the Band Aid charity.

That’s great, but shouldn’t it be more? Perhaps even all?

Famine has not gone away."

You're right -- world hunger certainly hasn't gone away.

But this production isn't a charitable endeavor, like the Live Aid concerts were. And perhaps one could question the ethics of a commercial venture that's focused on the creation story of a charit

ACL2006 said: "Neither McKechnie or Larry Kert are "names". Broadway names, yes, but they wouldn't limit audience members from asking for a refund.


Agreed. And in regards to Marsha Mason, she does have four Academy Awards nominations under her belt. Though younger generations may not have the name recognition of Ms. Mason, I also don't think those (younger) generations are the target audience for this production either. 


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ErmengardeStopSniveling said: "House minimum for the Majestic is 18 IIRC. 20+ minimums are a thing of the past (and frankly are prohibitive for shows with a different style of music)"

I did some more digging, and you're correct -- before the negotiations in 2003, the minimum was 26, but then changed to 18. And that number could not be altered for a decade -- there's been no apparent change either since that decade elapsed in 2013. (Google's AI search over

Aside from the EGOT angle, from many of the articles announcing this win, I find this so interesting because the song wasn't just composed by Pasek & Paul -- they were originally hired to do the music for the season, but brought in other co-writers for me each of the songs featured. Per EW, 

"Pasek and Paul signed on to the project first and recruited Shaiman and Wittman to write the number alongside them." 

An Emmy won, is

BroadwayNYC2 said: "They wouldn’t just scoop anything if they aren’t a client."

Of course -- that's what I was meaning -- whatever agency is working for Mincemeat would ensure the production had the appropriate handles, if and when they're needed. I've also seen the ads referencing "Does a Broadway show need a star..." and, at least when I clicked it, took me to their survey (which I think is part clever marketing

ErmengardeStopSniveling said: "There is equal chance of this being great and being awful. Could be a tricky property to adapt for the screen, especially as a first-time filmmaker.

Assuming this will more resemble an indie and not a studio tentpole, Aubrey Plaza could do something really interesting with the part and can carry a tune. I also love the idea of Emma Stone or Jessie Buckley...Janelle Monae?

This could also take years if they don't even have the r

In regards to Vocal Selections, specifically Kimberly Akimbo ​​, I'm sure it will come out -- two years since its Broadway debut notwithstanding, it takes awhile for the final, condensed and arranged sheets to be compiled -- and approved by the composer and lyricist. 

I'm disheartened that the emphasis on full scores has waned (at least in terms of official releases) but think that's due to the healthy and profitable market of productio

ErmengardeStopSniveling said: "Our sweaty comrade is now alleging that Frecknall will return to direct, with Tom Scutt designing, and Christopher Wheeldon choreographing.

Wheeldon would be an amazing get for this, and would up my excitement by a lot.

(To be taken with less than one grain of salt, obviously)"

....but would it be a "get" for Wheeldon? Just seems to me like he's trying to permanently move

While I'm not a huge Disney Theatricals fan, I think there are plenty of other producing organizations that would give their right arm to have one production running over 10 years (Aladdin) and another running over 20 years (The Lion King) -- not to mention the multiple other Tony-winning productions in between (Aida, Mary Poppins, Newsies). Some have done better than others, but I wouldn't extrapolate "Hercules" being opened elsewhere prior t