Clive was the lord high executioner for the Times before they dumped him for Frank Rich . He then moved to the Post. I remember a story that he had a speaking engagement in Pittsburgh the same day he was to review The Happy Time. He plane was delayed but the curtain was held for him. The rest of the critics took umbrage at this alleged slight to them (they would not have the curtain held for them they felt) and as a result they were much harsher toward the show than they normally would have been.
Speaking of critics, wonder where John Simon is these days if he is alive. He made Brantley look like a little fluffy kitten by comparison.
The reviews for this prove no matter how good a show is, there will be a few who dissent. There is truth in the statement you cannot please everyone.
They will. The NYTimes picks up AP articles all the time.
Variety is positive but pulls its critical punch at the last minute.
And that’s all the plot you need to know, because there’s entirely too much of it in the messy second act. But by that time, the show is steaming ahead, fueled by the bold-as-brass music, the ingenious lyrics and the sheer lunacy of the whole enterprise.
"Clive was the lord high executioner for the Times before they dumped him for Frank Rich . He then moved to the Post. I remember a story that he had a speaking engagement in Pittsburgh the same day he was to review The Happy Time. He plane was delayed but the curtain was held for him. The rest of the critics took umbrage at this alleged slight to them (they would not have the curtain held for them they felt) and as a result they were much harsher toward the show than they normally would have been."
Barnes, on the other hand, gave the show a fairly favorable review-- maybe out of guilt?
Just because one writes for the Times doesn't mean that he's "lord high executioner." Barnes was a slightly idiotic critic that kept pressing for more "contemporary" scores and failed to "get" the Sondheim/Prince collaboration for the most part. Hardly an executioner, though. Ditto Frank Rich, who is my favorite Times drama critic. He actually loved...loves...the theater.
And Richard Eder took over for Clive Barnes for a few years, so he wasn't dumped for Rich. Just wanted to correct you on that error.
That's not very lukewarm... it's pretty out-and-out Negative to my eyes.
Words don't deserve that kind of malarkey. They're innocent, neutral, precise, standing for this, describing that, meaning the other, so if you look after them you can build bridges across incomprehension and chaos. But when they get their corners knocked off, they're no good anymore…I don't think writers are sacred, but words are. They deserve respect. If you get the right ones in the right order, you can nudge the world a little.
As it happens every April due to the mass of openings, I have used up all 10 of my free articles on NYT. So could someone copy and paste the whole thing here? Pretty please? (Will be begging the for the same thing tomorrow for The Visit)
"As it happens every April due to the mass of openings, I have used up all 10 of my free articles on NYT. So could someone copy and paste the whole thing here? Pretty please? (Will be begging the for the same thing tomorrow for The Visit) Thanks!"
Sometimes if you delete the cookies from them in your web browser's privacy pane, the counter will be reset.
Yeah... that's not lukewarm that is a pan. Ouch. Completely agree with everything... except that I still had a great time at the theatre even though I was breaking it apart dramaturgically in my head...
Like ljay, I agreed with almost every thing he said. I would have found room to give a little praise here and there, but I don't think any of the criticism is off the mark. If anything, his repetition of his basic critiques mirrors the repetition of the show...
And does Davenport have any money in SOMETHING ROTTEN? Because LOL at that review being "on the fence"
Words don't deserve that kind of malarkey. They're innocent, neutral, precise, standing for this, describing that, meaning the other, so if you look after them you can build bridges across incomprehension and chaos. But when they get their corners knocked off, they're no good anymore…I don't think writers are sacred, but words are. They deserve respect. If you get the right ones in the right order, you can nudge the world a little.