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Post by Rory on Jun 11, 2019 22:26:14 GMT
Does anyone else really not like the new promotional designs for Broadway? The trailer was alright, but I hate the poster. I'm not convinced they'd totally nailed it with the yellow stuff we had here for the Noel Coward run but it was still better than the flower and the sort of multi-screen thing in the background. Really? I thought the original West End poster design with the tree and the book was stunning. The Broadway artwork is ok but not as good as the WE design.
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Post by andrew on Aug 15, 2019 12:09:09 GMT
Cast announcement happening right now on their instagram. No Redgrave for Broadway.
The main 5 leads are the same, all the others are new.
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Xanderl
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Not always very high value in terms of ticket yield or donations
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Post by Xanderl on Aug 15, 2019 12:33:54 GMT
Here's the cast ...
Good to see all the main leads transferring. Interesting they haven't gone for a big name cameo in the Redgrave role.
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Post by yokollama on Aug 15, 2019 13:15:23 GMT
Andrew Burnap had posted on his Instagram stories last week a photo of rehearsals - there was no mention of it, but you can certainly recognise the corner of the stage.
I was initially worried that he wouldn't, but I'm glad to see Paul Hilton transferring as well.
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Post by missthelma on Aug 15, 2019 17:53:01 GMT
Lois Smith will absolutely knock this out of the park. Remembering the role she is beyond perfect for it.
How very dare it be suggested she is not a big name!!! It's the talent wot counts don't cha know!!
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Post by Fleance on Aug 15, 2019 18:06:23 GMT
Lois Smith will absolutely knock this out of the park. Remembering the role she is beyond perfect for it. How very dare it be suggested she is not a big name!!! It's the talent wot counts don't cha know!! What a great choice she is. I worked with her a few times. In addition to her great talent, she's a very special person.
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Xanderl
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Not always very high value in terms of ticket yield or donations
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Post by Xanderl on Aug 15, 2019 18:29:22 GMT
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Post by ruby88 on Aug 18, 2019 15:37:30 GMT
I may be going to New York for the weekend with family in November and I’d love to see this on Broadway. I missed it in London, unfortunately. I’m wondering whether to go alone or not. I’ve read the play and I know there is some explicit dialogue but are the sex scenes/ nudity graphic enough to make viewing this with parents uncomfortable?
I enjoyed it so much when I read it and don’t want to miss it if I’m in the area.
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Xanderl
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Not always very high value in terms of ticket yield or donations
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Post by Xanderl on Aug 18, 2019 16:47:39 GMT
There is only one nude scene, which is fairly short - one of the characters drops his towel and stands there naked briefly. There is a lengthy sex scene which is staged in an abstract way with no actual nudity / sex. I think the most explicit sequence is the lengthy description of the experience in the sauna - nothing's shown but the dialogue is very graphic.
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Post by Phantom of London on Aug 18, 2019 17:26:19 GMT
I wonder if this can pull a ferryman and last from the winter to spring and pass the usual clutter of openings to the Tony Awards, does that it will certainly win best play.
This will get excellent reviews from the liberal press, which includes the big one.
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Post by Dr Tom on Aug 19, 2019 8:23:57 GMT
I may be going to New York for the weekend with family in November and I’d love to see this on Broadway. I missed it in London, unfortunately. I’m wondering whether to go alone or not. I’ve read the play and I know there is some explicit dialogue but are the sex scenes/ nudity graphic enough to make viewing this with parents uncomfortable? I enjoyed it so much when I read it and don’t want to miss it if I’m in the area. I wouldn’t want to watch it with my parents in the same room, but you know yours. Just bear in mind it’s two long plays and a very long day. I’d gladly give up a day of my vacation to see it again, but your parents may not feel the same way, especially if you’re only in NYC for a weekend.
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Post by Deleted on Oct 6, 2019 9:24:30 GMT
A fair # of posters on Broadway World and ShowScore are finding the play slight and/or trite. Another common criticism is that it really is a mishmash of gay themes that have been covered in many, many plays, movies, or TV shows. And as expected, the stereotypical demographics and looks of the characters has come under some fire. Was this the case in London as well?
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Post by Rory on Oct 7, 2019 19:52:45 GMT
How could they not love it!?
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Post by sf on Oct 7, 2019 20:36:43 GMT
How could they not love it!?
I saw it at the Young Vic, and - yes - I loved it, but there are some legitimate bones to pick with the writing, some of which may resonate more loudly with a New York audience than they did in London. It almost entirely centres on a privileged, affluent, disproportionately white substrata of New York's gay community, and that may well be more of an issue for a Broadway audience. It's arguably a problem that the play shows a stage full of male characters who only ever seem to speak to people like themselves; given the scope of the social history Lopez is trying to navigate, the lack of (for want of a better word) inclusion might well be an issue for a New York audience. The spread of AIDS was hardly restricted to an upper-middle-class liberal clique who all traded in the same cultural references.
And do none of these New Yorkers ever speak to a woman? Is there nobody trans or genderqueer in this very, very insular social circle? Nobody foreign, no recent immigrants/expats-in-New-York?
There's more, but you get the point. I do think it's a brilliant piece of writing, but brilliant is not the same thing as flawless. And I do think it's interesting that it premiered in London rather than New York, particularly since Lopez was relatively unknown here. Opening it in London first was a definite choice, and I think there was a very obvious strategy behind it - and the fact that it seems to be getting a less, shall we say, uncritical response from early New York audiences bears that out.
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Post by Being Alive on Oct 8, 2019 5:46:35 GMT
I’d agree with sf - I had some issues with Part 2 especially (it was unnecessarily long and I felt almost an hour could have come out really) but it doesn’t take away from the play being a moment in theatrical history. Agree with the Monkey that I guess the Americans know these people better than we do (?) and are this reacting as such.
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Post by Deleted on Oct 8, 2019 10:35:41 GMT
I do think Monkey nailed why some in NYC have been so critical. I was also reminded recently that here in the States we've seen so many of these gay characterizations in so many other plays, ones that may have not made it to the London stages. All that said, it still is some well-crafted, enjoyable, and moving theatre.
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Post by kathryn on Oct 8, 2019 15:08:58 GMT
A fair # of posters on Broadway World and ShowScore are finding the play slight and/or trite. Another common criticism is that it really is a mishmash of gay themes that have been covered in many, many plays, movies, or TV shows. Well, that is kind of the point though, isn't it? The Inheritance of the title is as much cultural as physical.
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Post by sf on Oct 8, 2019 18:14:30 GMT
I’d agree with sf - I had some issues with Part 2 especially (it was unnecessarily long and I felt almost an hour could have come out really) but it doesn’t take away from the play being a moment in theatrical history. Agree with the Monkey that I guess the Americans know these people better than we do (?) and are this reacting as such. My biggest issue with the writing, actually, is something that would probably resonate less with a New York audience than it might here. I thought it was churlish in the extreme for Lopez to let the other men accuse Morgan of cowardice in refusing to allow 'Maurice' to be published during his lifetime without allowing Morgan to point out what the consequences of publication would have been: not merely a scandal, but (at least in 1914-15, after the first version of it was completed) very possibly a prison sentence, particularly if he'd allowed the novel to be published with an ending that kept Maurice and Alec together and alive.
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Post by Rory on Oct 8, 2019 19:09:11 GMT
Enjoyed your analysis sf. I'd say you're probably right.
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Post by Deleted on Oct 8, 2019 20:38:42 GMT
A fair # of posters on Broadway World and ShowScore are finding the play slight and/or trite. Another common criticism is that it really is a mishmash of gay themes that have been covered in many, many plays, movies, or TV shows. Well, that is kind of the point though, isn't it? The Inheritance of the title is as much cultural as physical. Yes and no. Yes to the themes, but I doubt the playwright intended some audience members to find his writing trite or his treatment of the themes to be so slight.
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Post by couldileaveyou on Nov 18, 2019 11:56:33 GMT
It was opening night (well, day) yesterday for the Broadway production, and the critical reception has been positive but not enthusiastic. It didn't make it to the "critic's pick" of the New York Times and Brantley wrote: "Ambition and achievement are not entirely commensurate in “The Inheritance.” Its breadth doesn’t always translate into depth. As fine as the acting is throughout — and quietly brilliant when the extraordinary veteran Lois Smith takes the stage, toward the very end, as the show’s sole female character — none of the characters here have the textured completeness of those created by Forster and Kushner. Ultimately, the play twists itself into ungainly pretzels as it tries to join all the thematic dots on its immense canvas. Yet even by the end of the overwrought second half of “The Inheritance,” you’re likely to feel the abiding, welcome buzz of energy that comes from an unflagging will to question, to create, to contextualize, to — oh, why not? — only connect." www.broadwayworld.com/article/Review-Roundup-THE-INHERITANCE-Opens-on-Broadway-Updating-Live-20191117
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Post by learfan on Nov 18, 2019 13:10:10 GMT
It was opening night (well, day) yesterday for the Broadway production, and the critical reception has been positive but not enthusiastic. It didn't make it to the "critic's pick" of the New York Times and Brantley wrote: "Ambition and achievement are not entirely commensurate in “The Inheritance.” Its breadth doesn’t always translate into depth. As fine as the acting is throughout — and quietly brilliant when the extraordinary veteran Lois Smith takes the stage, toward the very end, as the show’s sole female character — none of the characters here have the textured completeness of those created by Forster and Kushner. Ultimately, the play twists itself into ungainly pretzels as it tries to join all the thematic dots on its immense canvas. Yet even by the end of the overwrought second half of “The Inheritance,” you’re likely to feel the abiding, welcome buzz of energy that comes from an unflagging will to question, to create, to contextualize, to — oh, why not? — only connect." www.broadwayworld.com/article/Review-Roundup-THE-INHERITANCE-Opens-on-Broadway-Updating-Live-20191117I saw both parts in a day at the YV and thought it amazing. I wasn't at all surprised when it scooped the Oliviers. What does NY want you wonder? There are few enough straight plays on Broadway and if this doesn't win the best play Tony then something is wrong.
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Post by MrBraithwaite on Nov 18, 2019 14:05:14 GMT
Brantley wrote: "none of the characters here have the textured completeness of those created by Forster and Kushner." Can't really agree with that, always found Kushner's charcters (in Angels in America) quite artificial in comparison. Maybe it is a generational thing, I found Inheritance to be much more 'now' while Angels has this patina of a 'classic' by now.
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Post by sf on Nov 18, 2019 17:11:44 GMT
none of the characters here have the textured completeness of those created by Forster and Kushner. Actually, while I had some bones to pick with the writing (as I've said elsewhere), I found Lopez's Henry Wilcox a far more interesting, far more complex figure than Forster's.
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Post by nash16 on Nov 19, 2019 0:29:43 GMT
It was opening night (well, day) yesterday for the Broadway production, and the critical reception has been positive but not enthusiastic. It didn't make it to the "critic's pick" of the New York Times and Brantley wrote: "Ambition and achievement are not entirely commensurate in “The Inheritance.” Its breadth doesn’t always translate into depth. As fine as the acting is throughout — and quietly brilliant when the extraordinary veteran Lois Smith takes the stage, toward the very end, as the show’s sole female character — none of the characters here have the textured completeness of those created by Forster and Kushner. Ultimately, the play twists itself into ungainly pretzels as it tries to join all the thematic dots on its immense canvas. Yet even by the end of the overwrought second half of “The Inheritance,” you’re likely to feel the abiding, welcome buzz of energy that comes from an unflagging will to question, to create, to contextualize, to — oh, why not? — only connect." www.broadwayworld.com/article/Review-Roundup-THE-INHERITANCE-Opens-on-Broadway-Updating-Live-20191117Have to say I agree with this. Really didn't get on with it when I saw it at the YV. But was aware in the minority.
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Post by couldileaveyou on Feb 21, 2020 0:42:42 GMT
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Post by zahidf on Feb 21, 2020 8:36:09 GMT
Shame
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Post by Rory on Feb 21, 2020 9:08:31 GMT
Yes, it's extremely disappointing and surprising that this didn't find its audience on Broadway. It's terrific.
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Post by jamb0r on Feb 21, 2020 10:13:49 GMT
Such a shame it never found its audience - the closing notice isn’t a surprise, there’s been heavy discounts on tickets for the majority of the run. Would have been amazing if they could have filmed it and released on Netflix or similar, though I’m not sure how well it would translate onto screen. I designed this neon sign and had it custom made, currently hanging above my bed. The final 2 words of the play which will always remind me to not take life for granted and to make the most of the opportunities I’ve been given that so many didn’t have.
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Post by Deleted on Feb 21, 2020 12:58:45 GMT
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