Gay-themed erotic thrillers are rare enough in 2014, so audiences in 1929 must have been shocked at the premiere run of Patrick Hamilton’s play Rope, about two college-age male lovers who murder a fellow student in an attempt to commit the perfect crime.
According to the tenets of the American Dream, people are free to pursue the lives they want. Unfortunately, their lives rarely go according to their plans.
Band members generally spend a great deal of time preparing for performances — warming up, reviewing play sets, polishing difficult stretches, honing introductions.
It’s obvious from the first moments of the new Broadway production of Hedwig and the Angry Inch that star Neil Patrick Harris is doing something special. And it’s not just trying on a new role.
Anyone who has lost a spouse understands there is no bottom to the well of grief. At best, one can only hope to come to terms with the loss and manage the emotional wreckage.
Two couples — former chorus girls and the successful men they married — and the crumbling ruin of a Broadway theater are the setting of a show called Weismann’s Follies. The couples are survivors of twin relationships turned sour. Victims of their own follies, they’re surrounded by the ghosts of their pasts and fighting for a way to save their emotional lives of the present.
Stephen Sondheim’s Follies opened in April 1971 in New York’s Winter Garden Theatre. The show, with a book by James Goldman and directed by Harold Prince and Michael Bennett, ran for 522 performances and lost $792,000. It also earned 11 Tony Award nominations and won seven of them, prompting New York Times critic Frank Rich to wonder whether Follies was “a great musical or the greatest of all cult musicals.”
According to the tenets of the American Dream, people are free to pursue the lives they want.
In 1967, the Broadway musical world was rocked like never before by Hair: The American Tribal Love-Rock Musical. Nothing like it had been tried before, and it spawned an entirely new direction in musical theater.
Public radio personality Ira Glass said he never thought a stage show combining radio and modern dance would work. Despite success to the contrary, he still questions the concept.