Showing posts with label Spring Awakening. Show all posts
Showing posts with label Spring Awakening. Show all posts

Wednesday, September 28, 2011

Coffee & Conversations - Fun, Free, Starts Friday

Posted by Bruce Miller
Today I'm excited to announce our 2011-12 Season of Rostov's Coffee & Conversations. If you've never been to one of these free, fun and informative events, you don't know what you're missing. We hope you'll mark your calendars now and plan to join us. It's a great way to start your day and connect with your theatre.

To kick off the series, we're having a Special Event this Friday, Sept. 30, 9:30 a.m. in the Barksdale Willow Lawn lobby. Melissa Johnston Price, star of Becky's New Car, will join in a panel with Charlie and Benita Staadecker, the amazing couple who originally commissioned this vibrant new play by Steven Dietz. They are visiting us this weekend from Seattle. I will moderate the discussion, and our director, Billy Christopher Maupin, will be on hand to offer additional insight. It's free. No reservations required. Please join us.

Now--back to the rest of our Coffee & Conversations season. Each program will focus on a fresh and lively panel discussion, providing a fun behind-the-scenes look into the shows and operations of Barksdale/Theatre IV--Central Virginia's nonprofit, resident professional theatre.

Following our Special Event this Friday, the Rostov's Coffee & Conversations series will take place on the second Tuesday of each month, October through July (excluding June). There will be no programs in August and September.

Rostov's coffee, tea and pastries will be provided free-of-charge at each event, with the continental buffet opening at 9:15 a.m. Moderated panel discussions will begin promptly at 9:30 a.m. and last one hour, with lots of opportunity for audience Q & A.

Events are normally held in the lobby of Barksdale Willow Lawn. If attendance approaches 70 or more, the program may be moved into our comfortable 204-seat theatre. Average attendance has been around 35, but we're hoping to grow the program this year. Please note that the July event will be held on the set of Spring Awakening at the historic Empire Theatre, located at 114 W Broad Street, downtown.

All Rostov's Coffee & Conversations programs are free and open to everyone. A $3 free-will donation is gratefully accepted from those who have the means. Donations are welcomed in the glass urn that sits on the pastry buffet table.

No reservations are required.

The 2011-12 Season is as follows. Panelists and moderators will be announced on this blog and elsewhere on our website about two weeks prior to each program.

Tuesday, October 11, 2011
Behind the Scenes of Lend Me a Tenor
Moderator - Jill Bari Steinberg
Panelists - Cast members Nick Ciavarella, Frank Creasy, Susan Sanford

Tuesday, November 14, 2011
Working Out - Our Theatre Gym Partnership with Cadence Theatre Company

Tuesday, December 13, 2011
Behind the Scenes of My Fair Lady

Tuesday, January 10, 2012
Build It and They Will Come - Barksdale's Set Construction Team

Tuesday, February 14, 2012
Behind the Scenes of God of Carnage

Tuesday, March 13, 2012
Public Funding for the Arts - Where Do Greater Richmond and Virginia Stand?

Tuesday, April 10, 2012
All in the Planning - The Future of Barksdale Theatre and Theatre IV

Tuesday, May 8, 2012
Behind the Scenes of our World Premiere Production of Scorched Earth

Tuesday, July 10, 2012 ***This program will be held in the historic Empire Theatre
Behind the Scenes of Spring Awakening

For more information, or more timely information, please visit www.BarksdaleRichmond.org. We hope you'll join us for each of these fun and informative programs.

--Bruce Miller

Sunday, June 5, 2011

A Quick Read on "The Book of Mormon"

Posted by Bruce Miller
On our recent theatre trip to NYC, my daughter Hannah and I saw The Book of Mormon. Almost locked-in to win the Tony Award for Best Musical, Mormon is the hottest ticket on Broadway. So it's the one show we bought in advance, paying $352 (before box office service charges) for two seats in the rear mezz. Yikes!

I read a rave review on Facebook from one of the Richmond theatre artists I most respect. His glowing assessment echoed the sentiments of virtually every mover and shaper in American theatre. Mormon has already won Best Musical nods from the New York Drama Critics' Circle, the Drama Desk Awards, the Outer Critics Circle Awards, and the Drama League Awards.

Ben Brantley in the New York Times called it "the best musical of this century." Peter Marks gushes in the Washington Post: "Matt and Trey: where have they been all my life? The Book of Mormon deserves worship." The critic in Vogue proclaims it "the best new American musical of the last 25 years." And Entertainment Weekly describes it as "a perfect Broadway musical," adding, "This is what 21st Century Broadway can be."

The youthful, packed house on the Sunday evening performance we attended went WILD--the most enthusiastic audience response I've witnessed on Broadway since the euphoric reaction that followed Jennifer Holliday singing And I Am Telling You I'm Not Going in the pre-Tony Award months of the original run of Dreamgirls in 1982.

So what did we think of The Book of Mormon? I liked it more than Hannah did. There were elements I liked a lot. If the rest of the world weren't getting all orgasmic, I'd be talking about how fun it was. But the best musical of the century or the last 25 years? Better than Into the Woods, The Lion King, Rent, Wicked, Spring Awakening, and Light in the Piazza? I have to admit that I just don't get it.

I'm sure part of it is that I'm 60 years old. I've never watched South Park, also written by two of the creators of Mormon, even for five seconds. When I watched that South Park "Hamlet" take-off that James Ricks posted on Facebook a week or so ago, I found it confusing and annoying and not funny in the least. I'm 60 years old, which I know is no excuse, but it seems to me like maybe it's germane.

My taste in musicals was forged during the era of Stephen Sondheim. My favorite musical of all time is A Little Night Music. My favorite musicals of this century are Wicked, Spring Awakening, and Light in the Piazza. I NEVER thought I'd say this about Sondheim (Night Music), but I fear and suspect that my beloved musicals of days gone by now seem terribly old school to young, savvy theatregoers who find Avenue Q and The Book of Mormon to be what American musical theatre needs today.

To me, The Book of Mormon was a lot of fun, clever and energetic, full of sound and fury signifying ... not a heck of a lot. To me, it was mostly derivative. Like Spamalot and Avenue Q, it revels in its irreverence. Like Drowsy Chaperone, it celebrates unapologetic musical comedy technique. Like Urinetown, it finds much of its humor from referencing other musical theatre hits. Like The Producers, it rejoices in an old fashioned bring-on-the-dancing-girls (in this case boys) sensibility that is almost quaint. Like In the Heights, it wraps everything up at the end with a tidy sentimental bow.

Not that there's anything wrong with that.

Unlike the great works of Jerome Kern and Oscar Hammerstein, Cole Porter, Rodgers and Hart, Rodgers and Hammerstein, Leonard Bernstein, Stephen Sondheim, and Kander and Ebb, it breaks no new ground with its production, libretto or score. It challenges nothing (seriously, find me an easier target for satire). It takes us nowhere we haven't been before. It teaches us very little. But it doesn't intend to do any of that.

Also, full disclosure time, I experience discomfort making smart-aleck fun of anyone's faith, no matter what that faith may be. Early in the show, there's a jaunty song that repeats the catch phrase, forgive me, "f... you God," I knew my father, were he alive, would be deeply hurt to see me applauding.

So, let me say what I LOVED about the show:

The CONCEPT: Take the squeakiest clean, fastest growing religion in the world and insert two of its virgin missionaries into Uganda, the most hellish place on earth (at least as described in this show), and see what they can do to convert a populace that is being decimated by AIDS, barbaric war loads, and enforced female circumcisions. View everything though the lens of American musical comedy. A GREAT idea.

The PERFORMANCES: I thought Josh Gad as a Mormon Zach Galifianakis (Jack Black?) and Andrew Rannells as a Mormon Bradley Cooper were full of talent and energy, as were their Mormon back-up singers. Nikki M. James, the beautiful black woman who is the first to convert, is a joy to watch. Everyone sings, dances and acts with such a love of all things Broadway, they send your spirits soaring.

The RESOLUTION: Using the mythology of the Broadway musical to shed light on the mythology of Mormonism (standing in for all the world's religions), and watching the Disneyworld Africans discover that, yes, mythology is make-believe but that's all it's ever been intended to be--stand-ins for the truths of love and interconnectedness. Yes, it is a small world after all.

I honestly did think the show was fresh, excitingly performed, and a lot of fun. At the end, it's even sorta sweet. I wasn't offended, just a little uneasy. In the overall arc of musical theatre, I think this show will go down as very 2011. Which is in many ways a great compliment.

--Bruce Miller

Wednesday, October 15, 2008

TKTS Booth Set to Re-Open This Week

Posted by Bruce Miller
My family made it up to NYC last weekend for a fall visit to Broadway. Hannah and I saw In the Heights, South Pacific, [title of show] and The Marvelous Wonderettes. Curt and Terrie joined us for In the Heights, and saw Spring Awakening on their own. More on all that later.

While in the Big Apple, I visited the old TKTS Booth—the real one in Duffy Square that’s been closed for renovations for what seems like forever. A model of the re-design is pictured above.

Work on the remodeling seemed to be nearing completion, so I snapped these clandestine pictures, foisting my cheap trinket of a camera through rips in the black plastic and gaps in the chain link fence that has been installed to keep the new booth under wraps. I felt like Maxwell Smart, and kept waiting for my shoe phone to ring.

I asked the guys working the substitute booth located behind the Marriott Marquis when the newly remodeled old booth would reopen. The guy who seemed to know the most said, and I quote, “We’re supposed to open it for credit card sales”—yes, my friends, credit card sales—“on Tuesday and Wednesday”—that would be Oct 14 and 15—“and then transfer all operations back over there on Thursday.”

Maybe he was crazy or misinformed, but from what he said the real TKTS Booth may be re-opening tomorrow, and may begin accepting credit cards for the first time.

I don’t know how many half-price Broadway and Off-Broadway tickets I’ve purchased at the Times Square TKTS Booth since it first opened in 1973, housed in an old construction trailer. It’s certainly been in the hundreds. Some quick calculations indicate that I’ve probably saved about $14,800 and spent about 300 hours waiting in line.

I’ve loved every minute of it—well, almost every minute. And I seriously prefer the old booth in the open air of Duffy Square to the substitute booth crowded into that crossover space that's carved beneath the Marriott between 46th and 45th. I’m genuinely excited that the old booth will be re-opening soon.

It’s going to take me a while to get used to the new look. It’s very red, and looks like a huge bleacher plopped on top of the tkts booth, which appears now to be more of a lean-to than a booth. The bleacher faces downtown, and those sitting on it will have a great view of the back of the large stone cross behind the statue of Father Duffy, the beloved priest of Times Square.

I don't remember what the back of that cross looks like, and I don’t care. On my next trip up, I’ll stand in line with bells on.

Till then, I hope to see you at a theatre in Richmond!

--Bruce Miller

Thursday, March 29, 2007

A Broadway Weekend - Part II: NYC on a Budget

As I stated in Part I of this blog entry, my daughter and I had the chance to share a NYC theatre weekend a few days ago. We flew from Richmond to NYC, spent two nights at the Milford Plaza, saw four Broadway musicals (see our “reviews” in Part I, found below), and did it all for less than $705 each, which I think is a pretty good deal.

I’ll be frank—money is tight in the Miller family. I know, blowing $1,410 for a New York theatre weekend is extravagant by the standards of most of the world. But theatre is one of my passions; bonding with each of my kids is another. So, for me, it was money well spent.

And it was money carefully spent. It would be easy to say goodbye to over $2 to $3 K during a New York weekend, but we worked hard to control expenses while still having a terrific time. If you care about saving money too, here are a few budget strategies that we employed and that you may find useful.

Transportation - $195.60 for the two of us

I was sitting at my computer in January when Jet Blue sent out an email alerting me to a 3-day fare sale. The headline trumpeted “NYC for $49.” Now, of course, when Jet Blue talks about a $49 fare, they’re talking one way, before taxes and other airport fees. Nonetheless, this sounded cheap to me, and so I went to their website and began exploring exact fares for specific dates. I soon realized that flying up on Saturday morning at 7 a.m. and returning Monday afternoon at 12:30 p.m. offered the cheapest flights. I then explored various weekends before finding the weekend of March 24. For whatever reason, if we flew up on March 24 and flew back on March 26, fares were only $29 each way. So I booked our flights. Our total airfare bill on Jet Blue, Richmond to JFK New York, came to $157.60 for two roundtrip tickets including all taxes and fees. What a deal!

The cheapest, quickest, and by my mind most relaxing way to travel from JFK into Manhattan is by AirTrain and subway. The shuttle vans are way too time consuming, claustrophobic and expensive. And who can afford a cab? The AirTrain / subway combo costs $5.60, if you do it right, and the trip takes about 50 minutes (30 minutes less than waiting for and taking the shuttle).

When you disembark from your plane, follow the signs for Ground Transportation. You’ll soon see signs for the AirTrain—follow them. Once you get to the AirTrain, take the train to Jamaica Center. It’s all very clearly marked and easy to do. You don’t pay for the AirTrain until the end of your AirTrain experience. After getting off the AirTrain, follow the signs to the NYC Subway, and just before going through the exit turnstile, purchase your MetroCard at the automatic machines that are just to your right. You can use your credit or debit card to purchase a MetroCard worth $24 for only $20 (saving 20%). $14 of that $24 will be spent paying for the two AirTrain rides you just completed ($5 each full fare, $4 each after saving the 20%) and the two subway trips you’re just about to take ($2 each full fare, $1.60 each after saving the 20%).

Once you have your MetroCard, swipe it to exit through the turnstiles, and then follow signs to the E train. Again, it’s clearly marked and easy to do. When you enter the subway station, you’ll swipe your MetroCard again, and then follow signs to the E train heading into Manhattan. Board the E train and you’ll have a comfortable and safe 30 to 45 minute ride into the city, depending on time of day. On Saturday mornings the ride is very quick.

I get off the subway at 7th and 53rd, because I like to walk a little before arriving at my hotel. But, depending on where you’re staying, you can get off earlier (Lexington and 53rd, 5th Ave and 53rd) or later (8th Ave and 50th, 8th Ave and 42nd). Wherever you get off, it should be a short walk to your hotel.

All told, our transportation expenses amounted to $195.60—$157.60 for airfare, $30 for MetroCards (you’ll see where the extra $10 comes in in a couple paragraphs), and $18 for parking in Economy Lot C at the Richmond Airport.

Hotel - $482.45 for the two of us

There are two hotels I use the most in NYC, because they are cheap (relative to other NYC hotels), clean and centrally located. They are the Edison on 47th Street between Broadway and 8th Ave, and the Milford Plaza on 8th Ave between 45th and 44th. If you know of other alternatives in or near the theatre district, please let me know. I’ve had hit-or-miss experiences in NYC using PriceLine, so I never use that service when going up with my family.

Again, a budget strategy is to book early. The later you wait, the more expensive the hotel rates will be. Also, the economy hotels in particular tend to fill up early.

If you book the Edison early enough, you can get a mini-suite (one queen bed and one sofa bed—plenty of room for my economy-minded family of four) for $225 before taxes and fees (high seasons may be more). You can get a room with one double or two twin beds at the Edison for $185. Rates at the Milford are more variable, and often slightly higher. We paid $239 for two twin beds on Saturday night, and $169 for the same room on Sunday night--go figure. The Edison is the hotel I go to first, but it usually books up before the Milford. One note about the Edison, on Friday and Saturday nights, the street noise coming from the late-night clubs on 47th Street can be really loud and last till 4 a.m. If you’re there on a Friday or Saturday, ask for a room that does NOT have windows on 47th Street.

All told, our hotel bill at the Milford Plaza amounted to $482.45 for a Saturday and Sunday night stay, two twin beds in a nonsmoking room on the 23rd floor, including the extensive taxes and fees added to every hotel bill in NYC.

Theatre Tickets - $520 for the two of us

Because we were arriving on a Saturday morning, we purchased our Saturday matinee tickets for Curtains in advance using BroadwayBox.com. If you’re not familiar with this web site, you should be. It’s your best opportunity to purchase discounted tickets in advance. Our Curtains tickets were perfect seats, 9th row center orchestra. We bought them on BroadwayBox.com for $81.50, which included a $3 per ticket service charge for ordering on line and a $1.50 per ticket theatre restoration charge. Regular price tickets are $114.50 if you order them on line or over the phone. So we saved 29% ($66 for the two of us) by using BroadwayBox.com.

But we elected to save more than 29% on our other tickets by purchasing them on the half-price TKTS line. When we arrived on Saturday morning, we checked into the Milford at 10 a.m.—yes, they had a room ready, which surprised the heck out of me. We then immediately got on the subway just outside the Milford’s door (8th Ave and 44th) and took the A train downtown to the second TKTS outlet at South Street Seaport (the C train would have worked just as well—just remember to follow the signs to Downtown). We got off the train at the Broadway Nassau stop and exited onto Fulton Street. Taking a right on Fulton, we walked a few short blocks to South Street Seaport, passing a Duane Reade pharmacy on the way. The closest ATM machine to the South Street Seaport TKTS booth is just inside the door of Duane Reade. Remember, the TKTS booths in NYC take cash only—no credit or debit cards, no personal checks.

The TKTS booth at South Street Seaport opens at 10 a.m. on Saturday morning. On Saturday mornings, the Times Square TKTS booth sells only Saturday matinee tickets. However, on Saturday mornings the South Street Seaport TKTS booth sells only Saturday evening and Sunday matinee tickets. We already had our Saturday matinee tickets, so that’s why we headed to South Street Seaport.

To reach the ticket booth, walk down Fulton and cross Water Street. One block after Water Street, turn right onto Front Street and walk one block. The TKTS booth is on the corner of Front Street and John Street—just look for the line. But remember, the line at South Street is much shorter than the line at Times Square. We waited in line approximately 15 minutes and then purchased half price tickets for Grey Gardens on Saturday night and Spring Awakening on Sunday afternoon. Our Grey Gardens seats were great (rear orchestra, two seats off a center aisle), and our Spring Awakening seats were front row orchestra. That’s right, several times I’ve purchased front row seats at the South Street TKTS booth, because most ticket buyers don’t like to sit in the front row.

The best part of this particular TKTS booth experience was meeting the woman standing in front of us in line. She turned out to be a Williamsburg resident, and a subscriber to Theatre IV’s children’s theatre programs in Newport News. It was great to meet someone who not only knew and respected our work here in Virginia, but who was also a savvy NYC theatre lover. As fate would have it, we sat in the row just behind her and her husband that evening at Grey Gardens.

More and more Broadway shows now have Sunday evening as well as Sunday matinee performances, which I think is wonderful. To buy our half price Color Purple tickets, we left the Spring Awakening matinee at approximately 4, walked to the TKTS booth which is temporarily on 46th Street, stood in line for about 15 minutes, and then purchased our first choice of shows.

Each of our half price tickets was $56.50 (full price is $113) plus a $3 TKTS booth charge. All told, we spent $520 for the two of us to see four Broadway shows, including all service charges etc. If we had paid full price for the exact same tickets, and purchased them via the internet or telephone, we would have paid $925. In other words, by using the various discount opportunities, we saved $405 (44%). And we had great seats for each show, and saw exactly the shows we wanted to see. This is not always the case. This time, we lucked out.

Food – Approximately $210 for six meals for the two of us

You can go to NYC and eat great for a lot of money. Or you can make up your mind to eat modestly for a little money. Because we don’t have money, we usually choose Option B. Saturday lunch, we ate at the food court on the third floor of the South Street Seaport. My daughter the vegetarian and I shared a make-your-own salad and Broccoli and Chicken over fried rice. The meal was healthy and delicious and came to $13 with no tip. Saturday evening between shows, we ate at Food Emporium on 49th and 8th. The food here is also delicious and the selection is amazing. Our total dinner came in at under $20. You get the picture. Other cheap eateries that earn our support are the great little cafĂ© off the lobby of the Edison Hotel on 47th, the Evergreen (especially for breakfast) on 47th just east of Broadway, and Smiths, located just across 8th Ave from the Milford. Our one splurge was ordering from the vegetable, cheese and seafood anti-pasta bar at Bond 45 on 45th Street, just east of Broadway. We had a delicious Sunday evening dinner for around $50, including tip. And, as a former waiter, I’m a good tipper.
When you add it all together, I think we did well on keeping costs low.

Grand Total - $1,408.05 for the two of us; $704.03 each!

Wednesday, March 28, 2007

A Broadway Weekend - Part I: The Shows

Every four months or so, my daughter and I go to NYC for our Broadway fix. About half the time my wife and son decide to join us. Truth be told, mother and son don’t love theatre quite as much as father and daughter. So sometimes we all join in each others’ favorite activities; other times we save money and split up.

This past weekend was the father / daughter weekend theatre trip. This blog entry is dedicated to the four terrific shows we saw together and loved. Coming next: Part II: NYC on a Budget. Now, on to the shows.

Our first show was the brand new musical Curtains, the last show to be written by musical theatre icons John Kander and Fred Ebb, the composer / lyricist team also responsible for Cabaret, Chicago, Zorba, Kiss of the Spider Woman, The Happy Time, Woman of the Year, Flora the Red Menace, The Rink, The Act, and 70 Girls 70. This murder mystery comedy musical was originally created with book writer Peter Stone. After Peter Stone and Fred Ebb died, Rupert Holmes (of The Mystery of Edwin Drood fame) stepped in to finish the book and add additional lyrics.

The results are terrific. Both my daughter and I are glad we saw Curtains first, because it aspires to entertain, nothing more. And entertain it does. It was funny, tuneful, colorful and lively, with lots of clever plot twists and style. The book, score, cast, direction, choreography and design were all first rate. We laughed and tapped our feet and had a jolly old time.

Creating an endearing Boston homicide detective with a not-so-secret passion for musical comedy, David Hyde Pierce leaves Niles from Frasier far behind. When a talent-less and difficult leading lady is murdered during the pre-Broadway tryouts of a new musical, there are plenty of people who had good reason to have done her in. So the detective steps in to find the killer, and while so doing, lets loose with his inspired suggestions on how to turn the tarnished try-out musical into a Broadway-worthy gem. A fun time was had by all.

Our second musical was Grey Gardens, a new adaptation of a classic 70s documentary about two truly bizarre relatives of Jackie Kennedy Onassis. I found Act I, set in the 50s, to be an intriguing iteration of the poor-little-rich-girl story. But I felt somewhat voyeuristic in Act II, set approximately 20 years later. The show seems to indict society for ridiculing, ostracizing and laughing at those who have been set adrift by mental fragility and fate. At the same time, the show seems to prompt us to ridicule and laugh. I had a hard time feeling comfortable with the perspective.

My daughter had no such problems. She was fascinated by the entire show start to finish. We both agreed that we loved it, that it made us think and gave us lots to talk about. We both agreed that Christine Ebersole (she’ll probably win her second Tony) and the understudy for Mary Louise Wilson were terrific. We were both really glad we went.

Our third show was Spring Awakening, and we both LOVED it. Some people had told me that one or both of us might be embarrassed by the sexual content, but we weren’t. Based on the German masterpiece by Wedekind that I read 35 years ago in college, Spring has the distance and eloquence of a classic, while at the same time benefiting from the thrill of immediacy provided by the terrific score, the youthful cast and the amazing choreography. I’m the last one anyone will ever accuse of being hip, but I’ll dare to say that Spring felt very hip to me—and by hip, I don’t mean fashionable, I mean intelligent in a very 2007 context.

The acting, directing, choreography, book, music, lyrics and design are all brilliant, but none of them are showy. Instead of offending or embarrassing us, the overall tone of the show seemed tasteful to us both. Yes, there are instances of brief nudity, strong language, sexual content, and simulated sexual activity. But the show is about the dignity of man, and about how we can rob our children of their innocence by subjecting them to our own arbitrary and often mistaken moralities. Again, we had LOTS to talk about afterward, and what could be better than parents and children having opportunities to talk (without any creepiness) about adolescent sexual awakening? I’m being serious—it was very healthy.

Last, but not least, we saw The Color Purple, and it was the perfect show to end our trip. Yes, we both understood how critics could pick the show apart. An epic story with tremendous resonance is crowded into an evening’s entertainment. But it didn’t matter. We followed every moment of the decades-long story with no confusion. And in the end, this was the show that made me cry. Whereas Spring Awakening appealed tremendously to heart and intellect, Purple appealed to heart and soul. The soaring music, the inspired performances, the sheer size of the production and its themes—all these things combined to make us care. There was also a strong faith context that I found very appealing. In the end, when love validates everything, I was reaching for my handkerchief.

The interesting thing is that, after reading the reviews, I wouldn’t have gone to The Color Purple if my new London/Paris friends, Ron and Les, hadn’t told me how much they loved the show. Now I’m so glad we went. Of the four, Purple is the one that I think would be most successful at Barksdale.

So, we saw four very different shows and loved them all, for different reasons. Thank goodness we’re not burdened by the responsibilities of a critic. We can still immerse ourselves in shows, and love them without feeling like we have to find fault or instruct others on what they should or shouldn’t like.

I have no idea whether you’ll like each of these shows or not. But I’m happy to share our opinions, and I encourage you to get up to NYC for your own theatre weekend if and when you have the chance.