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Broadway Divas Tournament: Round 1C Audios
It's what you've been waiting for. Once again, I have compiled a small collection of personally-recorded audio bootlegs pertaining to our next sixteen Divas. Unfortunately though my 55 GB folder of audios may be vast and varied, it is exhaustive, so apologies to those I have never seen (Tyne Daly, Dee Hoty, Anika Noni Rose, Linda Emond - they've all been away from New York for so long...)
See reblog for more.
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nycbirdenby · 1 month
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Happy Carrie the Musical 1988 Stratford opening night!!!!!!!
Even if it was delayed and didn't actually open then it's still very exciting!!!
It's been 36 years of Carrie the Musical and 2 years of the master cut!
This musical means so much to me and I'm so glad that it's so easily available online.
I highly recommend watching the master cut if you haven't already!
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mthguy · 11 months
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Patina Miller and Cast perform "Magic To Do" from Pippin at the 2013 Tony Awards
"Intrigue, plots to bring disaster
Humor, handled by a master
Romance, sex presented pastorally
Dee-dle-ee-dee
Illusion, fantasy to study
Battles, barbarous and bloody
Join us
Sit where everybody can see
We've got magic to do
Just for you
We've got miracle plays to play
We've got parts to perform
Hearts to warm
Kings and things to take by storm
As we go along our way"
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droughtofapathy · 2 months
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"Welcome to the Theatre": Diary of a Broadway Baby
Brenda Braxton: Stars Tonight!
January 21, 2024 | 54 Below | Evening | Cabaret | Guest Interviews | 1H
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As is on-brand for me, I had no plans to go outside this weekend, but then I got some comp tickets to Brenda Braxton's cabaret series at 54 Below with special guests Charlotte d'Amboise and Bianca Marroquin, so naturally I went. Worth every second in the cold. An absolute riot of a show. Lady Braxton is an unsung Diva. Highlight of the night was Charlotte d'Amboise singing Funny Honey to her husband in the audience, and going out into the crowd to dance for him, only to breeze right by and instead straddle Lillias White's lap and grind on her. Mutual groping was had. I was at the table in front of Lillias, so this happened within two feet of me, right in my face. A lesbian dream.
Verdict: Why I Love the Theatre
A Note on Ratings
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sondheims-hat · 7 months
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August 30, 1995: The first Broadway revival of Company begins previews at the Criterion Center. The Roundabout production's cast included Boyd Gaines, Debra Monk, Danny Burstein, Charlotte d'Amboise, Jane Krakowski, La Chanze, Kate Burton, and Robert Westenberg.
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naturepointstheway · 1 year
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Oh my goodness, I just discovered this! Gonna be watching this before sleepy-byes tonight. Betty Buckley, Ken Page, and Terrence Mann all in the same video? Yes please and thank you.
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mariacallous · 1 year
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Barring another extension, The Phantom of the Opera will close in April and the torch will pass to Chicago as the longest-running show currently on Broadway. The bare-bones revival of this musical of murder and infamy (lyrics by Fred Ebb, music by John Kander, and book by Ebb and original director Bob Fosse) has played continuously since 1996 — decades longer than the 1975 original production. One might reasonably expect the show to have entered tourist-trap territory by now, with phoned-in performances for half-awake viewers who picked up their discount tickets at the TKTS booth an hour before curtain. But it's one of the great delights of Broadway in 2023 that the cast and crew of Chicago are still performing like it's opening night.
Maybe it's because the story of Chicago has only appreciated in value in the age of social media, "reality" television, George Santos, and any number of fraudulent celebrities who now occupy prime real estate in our national attention. It's about Roxy Hart (Charlotte d'Amboise), an aging flapper who cheats on her husband (an appropriately pathetic Evan Harrington) with a furniture salesman (Brian O'Brien) and then shoots the bastard when he tries to walk out on her. She hires the unscrupulous lawyer Billy Flynn (James T. Lane) to represent her, and he immediately launches a media blitz designed to throw her case to the court of public opinion. If Roxie plays her cards right, she might even leverage her scandal into a career in vaudeville. But she'll have to contend with his other client, Velma Kelly (Amra-Faye Wright), as well as any murderess-turned-tabloid-celebrity coming into the clink after her.
For a show that is so much about the power of novelty in a fickle culture, Chicago benefits most from the seasoned performances of Wright and d'Amboise, both of whom have appeared regularly in this show since the turn of the century. Hopping with mousy, quirky energy, d'Amboise portrays a Roxy who is not a natural stage presence: She's breathy and excitable, and it seems as though any missed step or dropped line will send her rushing for the inhaler. That makes her sudden fame feel even more like a precious commodity she cannot afford to lose. She plays off the audience during "Roxie" like she's giving a one-night-only concert, and seems to particularly delight in antagonizing Velma, the Cristal Connors to her Nomi Malone. Wright plays the part of old pro well, delivering line readings that are as sharp as her dance moves.
Lane has appeared in several roles in Chicago before assuming the role of Billy Flynn. His rich intonation and disingenuous smile conjure the image of velvet smeared with Kerrygold butter — a combination simultaneously decadent and revolting. One never questions his command of the press, particularly the credulous Mary Sunshine. Ryan Lowe, who has played this part for over a decade, still soars into the rafters with his magnificent countertenor. Additionally, he seems to have been lifting hard since I last saw this production, making his second act reveal even more delightfully subversive.
If the veteran performers are the backbone of Chicago, the celebrity replacements (often derided as "stunt casting") are the lifeblood. Chicago has featured Jerry Springer, Pamela Anderson, Wendy Williams, and no fewer than four Real Housewives. These people bring fresh perspectives (and, crucially, new ticket-buyers) to the Ambassador Theatre. It's smart business and good dramaturgy in a musical that is all about the fleeting enchantment of public attention.
The newest addition to Chicago is Jinkx Monsoon, a double winner of RuPaul's Drag Race and the first drag performer (with apologies to NeNe Leakes) to assume the role of Matron "Mama" Morton. From the wild entrance applause she received during a recent Saturday matinee, it's clear that she's holding up her end of the bargain — and she justifies their enthusiasm with a goosebump-producing rendition of "When You're Good to Mama." One of the great belters presently working on the American stage, Monsoon's voice only seems to have grown since her annual holiday show with BenDeLaCreme. While her exaggerated dialect is more Canarsie than Chicago, Monsoon justifies the choice with a fully realized portrayal of Mama as a grotesque inhabitant of this world of smoke and mirrors, in which the most opportunistic always find a way to profit from tragedy. We easily fill in the backstory.
The excellent ensemble does the rest, creating memorable moments within director Walter Bobbie's staging and the late Ann Reinking's precise Fosse-inspired choreography. Rachel Schur's hilariously novel interpretation of Annie (the inmate charged with poisoning her Mormon husband) suggests a frazzled PTA mom. Christine Cornish's heartfelt turn as Hunyak, the Polish immigrant who professes her innocence, injects gravity into an otherwise frivolous spectacle. And Michael Scirrotto's tour de force as every member of the jury practically steals the scene. All these performances pop within a design scheme (atypically spare set by John Lee Beatty, harshly theatrical lighting by Ken Billington, sexy sheer costumes by William Ivey Long) that establishes the essential mood of the piece with brilliant economy. These are the best tricks of experimental theater applied to a big Broadway musical.
I am typically of the opinion that no show has any business occupying a Broadway house for more than a decade: Theater is ephemeral, and the magic tends to wear off as the years pass and performances become stale. Chicago makes this a difficult position to maintain. Ten thousand performances later, it's still dazzling.
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lupismaris · 1 year
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Like i have so many thoughts about the production but all i can manage right now is Roxy and Velma were both MILFS (Charlotte d'Amboise as Roxy I'm in love), Jinkx as Mama set a new standard for the role imo (she channels Marcia Lewis and a glorious John Waters energy alongside her own elegance that i just adore), James T. Lane is the best Billy Flynn I've ever seen (best We Both Reached for the Gun AUGH), the jazz band being on stage as part of the set and ensemble was delicious, the ensemble was SO HOT HOLY SHIT, and R. Lowe as Mary Sunshine rewired my brain
Gods I'm just so fuckin queer
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sybright · 4 years
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A Thought
I can’t stop thinking about what Terrence Mann (the original Rum Tum Tugger on Broadway) says in interviews regarding how he fell in love with Charlotte d’Amboise (Cassandra in the first US Tour and later on Broadway). He says he was watching her from the wings one night and was completely awestruck by her dancing and thought to himself: “Wow, I will never be that talented, but maybe I can date it.” And that’s how he and Charlotte fell in love.
I can’t stop thinking about it because I keep imagining it in the context of Tugger and Misto’s relationship. Tugger is established as this self-absorbed, careless cat who thinks he’s the greatest, but then he sees Misto dance and do magic for the first time, and he is taken aback by it. He realizes that he isn’t the greatest, that he can’t do shit compared to this cat, and he has a similar thought: “Wow, I will never be that talented, but maybe I can date it.” And that’s how he and Misto fell in love.
Thank you for coming to my TED talk.
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theimpossiblescheme · 4 years
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Charlotte d'Amboise as Cassandra in the MTV “Rum Tum Tugger” music video
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Broadway Divas Tournament: Round 1C
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Eight shows a week in 1995, Veanne Cox (1963) sang "Getting Married Today" in the oft-overlooked revival of Company, earning a Tony nomination for her harrowing effort. While I know and love her as Calliope in the best Cinderella (1997) screen adaptation, her stage credits include The Dinner Party (2000) (alongside Diva Jan Maxwell), Caroline, or Change (2002) (alongside Divas Tonya Pinkins and Anika Noni Rose), and recently an off-Broadway production of Wedding Band (2022) where her character was astoundingly racist. She's a delightfully unhinged personality with an open-door policy on her NYC apartment for any fellow actor needing to crash for a night.
Two-time Tony nominee Charlotte d'Amboise (1964) is a hell of a dancer who has been flitting in and out of Chicago for the last twenty-five years. She has also starred in Company (1995), Contact (2001), Carrie (1988), and A Chorus Line (2006). She's also done Pippin (2013), but I had a C-theme going on so... Dance runs in the family. Both of her parents were accomplished professional dancers, as are her siblings. She is the Roxie, even on the cusp of sixty. It really adds layers to the whole fake-pregnancy storyline.
PROPAGANDA AND MEDIA UNDER CUT: ALL POLLS HERE
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"Veanne Cox is one of the funniest, most unhinged character actresses you'll ever meet. Just watch the clip above. I cried laughing. Love a woman who has something obviously deeply wrong with her. In her own words, she's a lot better than she used to be. She likes to tell a great story where she was being neurotic and insufferable in a dressing room somewhere and Betty Buckley came along, sat on her, and said "stop it. Just stop it." And she did. And now they're best friends, and Veanne got help. Also, she was 35 when she was in Cinderella, and Bernadette Peters was her mother at 50. Very funny to me. "
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"Yeah, I think that about sums it up. If you've seen Chicago at some point, statistically you're more likely to have seen Charlotte than any other Roxie."
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aropippin · 3 years
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@projectbway  event 04 : free week   —  Spread a Little Sunshine
I know the parables told in the holy book I keep close on my shelf God's wisdom teaches me when I help others, I'm really helping myself
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saleintothe90s · 3 years
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422. ”Carrie” (May 12 - May 15 1988)
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I adore reading about flops. One of my favorite flops to read about is Carrie the musical. A doomed production from the start. Millions of dollars wasted. Bad costumes. Filler songs.
Similar to my Simpsons season 10 review, I wanna give something to the worst aspects of the show. With Simpsons, bad episodes were awarded Marge’s homemade Pepsi. For Carrie, I think I’m going to give the bad parts the “Vending Machine Maxi Pad” award. 
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As most anybody who follows Broadway flops knows, clips from Carrie are scarce and are in poor condition on YouTube. Most of the actual clips are from when the show was in test productions in Stratford Upon Avon, but the music has been replaced with the Broadway soundboard.  So, keep that in mind. Most of the time you can’t even make out what’s going on. Here’s the closest copy of the entire show I could find on YouTube, from the Sratford Upon Avon production. 
I know people bash the musical, and sometimes it’s rightfully so, but two things are consistent: Linzi Hateley who played Carrie, and that orchestra that is on.point. Check out the overture.
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The show begins with girls cheering in gym class in the beginning of an aerobics lesson?  The white gym shorts look like diapers. That’s the first of many costume mistakes. 
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The song is a banger, I love Darlene Love playing the gym teacher, she’s my favorite part of the song. The only part that is cringey to me is when the girls sing “I go CrAzZyyyyy” and they get on the ground and dance like a toddler having a temper tantrum in a Toys R Us. Since the audio quality is so bad in these clips, I thought at one point the girls were singing about not being caught picking their nose, no, the lyric is:
Bought the clothes, did my nose,
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Near the end of the song, the girls are on these rising rafters? It took me for-ever to realize that they were simulating a cheerleader pyramid, and that Carrie had snuck in near the end of the number to be on the bottom of the pyramid. Oh, and she causes it to fall and someone tells her to eat shit. 
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“Dream On” is the song that the girls sing while in the showers. Why yes, it does look like they’re in the nude due to the poor quality of the video.  The song is ok, it gives total night driving home from the mall in the late 80s early 90s vibes.  Although one girl says the line, “Six foot three and he's in his forties!”. WHAT. 
Carrie breaks those vibes at around 3:44 by screaming that she’s bleeding. When Miss Gardener slaps Carrie, a cymbal plays. I love it.
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I like to imagine that when the girls threw the tampons and pads at Carrie, some flew into the audience. 
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“Carrie” is shrill at first, and then it turns into a bit of snoozefest. Linzi sings the name “Carrie” about 458 times. 
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Betty Buckley who previously had played the original Grizabella in Cats. and who played the gym teacher in the original movie plays Carrie’s mom. Her song, “Open Your Heart” is pretty good. It’s a nice little break before mom goes bottoms up on Carrie for getting her period (”And Eve Was Weak” [Stratford version with Barbara Cook]):
Carrie: I was in the shower and...
Mom: You’re forbidden from showering with the other girls...
Carrie: I started to bleed!
While Carrie spends the rest of the night in a cellar, the popular girls are at the drive-in. Now, this musical cost over $7 million dollars 1, but yet this was the best set they could think of for a drive-in movie theater: 
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It looks like something out of a high school play -- which I guess makes a little sense since they are high schoolers? I’m grabbing at straws here. It cost so much money to put Carrie on, what’s a few more dollars to have two real hollowed out cars on stage, one with Chris (in the red) & Billy (in black) in it, and the other with Sue (pink leggings) and Tommy (purple windbreaker)? 
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“Don’t Waste the Moon” is the song sung at the drive-in, with Sue having regrets about throwing tampons at Carrie in the beginning of the song. The song is very 1980s, and it kind of doesn’t fit in the musical. Gene Anthony Ray’s (Billy) talent is wasted here. 
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It’s time for some “Evening Prayers” for Carrie where she discusses with God her new telekinesis powers. Meanwhile Carrie’s mom is being a worrywort. During the Stratford production, Carrie’s mom is in a rocking chair over there looking like Whistler’s Mother. 
“You’re going to tell Carrie that you’re sorry!” belts out Miss Gardner. In the musical, Chris seems more obsessed with torturing Carrie than in the movie or book if that’s even possible. Sue is like, “What did she even do to you?”. Even Billy asked earlier, “Who the hell is Carrie White?”. 
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Oooof. Seeing the gym teacher try to cheer Carrie up by singing a song about the prom (”Unsuspecting Hearts”) and how she could go too is patronizing. Even if its sung by Darlene Love. 
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“Do Me a Favor” might be the most infamous song from the musical. It’s the song I see referred to the most when I read bad reviews. For some reason Chris is wearing a metallic red bodysuit and Sue is wearing a light pink bodysuit. Are they supposed to be that cliche devil and the angel on the shoulder thing? 
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Chris looks like Evil Homer! 
I’m going be the unpopular opinion here and say that I love the song! The erratic dancing also fits with the song. 
Carrie tells her mom before “I Remember How Those Boys Would Dance” that Tommy is sweet and polite, but the audience doesn’t know that. Tommy is barely a character in this production. In the end, Carrie uses her powers to shut her mama up.
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From what I gather in “Out for Blood” (audio) where Chris and Billy go looking for a pig to kill, the chorus dancers are the pigs? The video quality is so poor. Chris had another crazy ass red outfit on, some sort of shiny red skirt and a crop top. The costumes in this are just horrible. It was like the wardrobe budget was $50. 
This song is so.so.bad. It reminds me of whenever Rocko from Rocko’s Modern Life would see a movie trailer or a parody of something on TV for some reason?! Or the “gotta get that Reptar song” from Rugrats when the kids saw Reptar on ice. Especially when the chorus tells Billy to kill the pig: 
CHORUS Cha! Kill the pig, pig, pig! CHRIS Go! CHORUS Kill 'im, kill 'im, kill, kill! We'll make him bleed! CHRIS Go! CHORUS Get the blood, blood, blood Oooh, blood! CHRIS Oh, baby show... CHORUS Kill the pig, make 'im bleed Let's get the blood, that's all we need!
Sue’s song “It Hurts to be Strong” is a bit of a throw-away. It gets a vending machine maxi pad award. Moving on. It’s filler  
In “I’m Not Alone”, Carrie sings while using her powers to move things around in her room. What things? I don’t know the video quality was so bad. That’s another thing! The sets are nonexistent! I wouldn’t know we were in Carrie’s room unless the Playbill told me. It’s another forgettable song. Three in a row!
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Betty Buckley saves the day in, “When There’s No One”, a sad song about facing life without Carrie being her subordinate. 
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I don’t understand the prom dresses in “Wotta Night”, they’re all garish giant white numbers that make the actresses look about 20 pounds heaver.  The guys look like that Rio doll from Jem. The costume designer couldn’t just go to Alexanders or A&S and buy prom dresses? You know, why am I even asking at this point. We all saw what Chris has been wearing this whole time. There is a disco ball thrown aside in the corner instead of hanging up. More on that later.
The song sounds way too much like that song “Rock on” by David Essex.  Automatic Vending Machine Maxi Pad. 
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Here’s a cute rehearsal clip I found of “Heaven”, the song sung while the Prom Queen and King ballots are being counted. Unfortunately, the audio is bad. Chris is there to remind us that she’s still out for blood.
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Finally, finally it’s time for Carrie the prom queen to get drenched with blood -- but the thing is, due to microphone technology back then, Carrie really couldn’t have blood dumped on her. Chris and Billy just run up to her and half ass pour the bucket at her. Could the set designer not suspend the bucket from above the stage? Is that also why the disco ball is thrown in the corner? I don’t even think she has stage blood on her during “The Destruction”, (which is the best song from the musical).  I think a red spotlight over Carrie signifies the blood.
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I think Linzi is really only truly covered in blood for press shots. 
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Anyway, the Destruction, I love it when she screeches “DOESN’T ANYBODY EVER GET IT RIGHT??! DOESN’T ANYBODY THINK THAT I HEAR?!” It’s the best. I could listen to it all day and I almost did the other day. 
Due the poor video quality, I can’t really tell how the prom-goers are dying. They’re kinda just twitching there in the laser light or slamming themselves against the clear barrier that descended from the stage to signify Carrie closing the doors to the gym. 
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After Carie kills everybody, this giant white staircase descends and covers up the gym. I read somewhere, I forgot where, that its supposed to be the school stairs? We’re led to believe that Carrie’s crazy mom ran to the school. The first time I saw it, I thought that it was Carrie and her mom getting ready to go to heaven. I thought maybe someone over at the set department took the classic song too literally. 
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It appears that while the stairs are descending, Carrie smears stage blood on her. 
The reprise of “Carrie’ is so much better than the original. Carrie stops her mom’s heart cold mid song. Then she slins down the stairs and Sue catches her. In an interview on playbill.com, Betty Buckley says that on opening night (I don’t know if she meant the first preview, or the official opening night), there were boos from the audience at the end, but cheers for Linzi and herself. I believe it. Betty and Linzi were amazing. Darlene Love was amazing. The rough scenes are the scenes with the school kids. They’re awful, in the words of my boy Jay Sherman, “they’re awful I tell you. aw.ful.” 
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(relevant prom .gif) 
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1. Rothstein, Mervyn. “After Seven Years And $7 Million, ‘Carrie’ Is a Kinetic Memory (Published 1988).” The New York Times, May 17, 1988, sec. Theater. https://www.nytimes.com/1988/05/17/theater/after-seven-years-and-7-million-carrie-is-a-kinetic-memory.html.
New York City Broadway reviews on the news in NYC for Carrie.  That first reviewer, Stuart Klein, I love him. I’ve watched several of his reviews on flops on YouTube. Joel Sigel who was the Good Morning America film reviewer is here too. 
Archive of Betty Buckley interview. 
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droughtofapathy · 4 months
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The Gilded Age's Broadway Divas: Miss Armstrong (Debra Monk)
Sometimes, a work family is a German mother and her Irish daughter, an English father and his clockmaking son, and a mean old spinster aunt who's only invited to the family holiday parties because she'd bitch for weeks if she wasn't. Miss Armstrong is Agnes's nasty lady's maid who has said exactly one (1) nice thing all season. And I love her.
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At seventy-four, Debra Monk is the oldest woman on The Gilded Age, and the only one with the appropriate hair color to show it. As cantankerous as her mistress with none of the charm, Armstrong is nothing like her fantastic actress. Debra Monk is one of theatre's comedy greats. Much like Katie Finneran, Debra is playing against type. Us theatre buffs know her from Pump Boys and Dinettes (co-author, director, and actress), Company (Joanne), and the ill-fated Nick & Nora alongside Christine Baranski.
An absolute delight of a human being, Deb Monk is a wise-cracking mile-a-minute, raunchy, jokester and deserves praise and recognition for her work.
#1: "Everybody's Girl," (Steel Pier) - My Favorite Broadway: The Leading Ladies (1998)
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Almost every stalwart theatre Diva has her signature song. "Everybody's Girl" is Debra Monk's pride and joy, and she sings it to this day. At her raunchiest yet, she serenades a gleeful audience with her sexual exploits whilst dressed in a black dress and corset that Armstrong would have a coronary over.
The clever lyrics are perfectly paired with her comedic chops. The whole performance is just a delight from start to finish. That exit has me screaming every time. Her performance in the stage show the song originated from netted her a third Tony nomination.
If we do not get a clip of Debra Monk in full Armstrong drag singing this song, what is the point anymore?
#2: "The Ladies Who Lunch," Company (1995)
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Before there was Patti LuPone, but after the great Elaine Stritch, there was Debra Monk as Joanne in the 1995 first Broadway revival of Company. Yes, another Stephen Sondheim. Often forgotten in the Company conversation, this production had a tough act to follow. Nominated for just two Tonys (Best Revival and Best Featured Actress--Veanne Cox, hello, I love you), there's not much that can be said about the 1995 production. It lasted two months, and no one can point me in the direction of any footage with Debra, so here we are.
#3: Debra Monk's Birthday Bash: Totally Hot and a Little Dirty (2014)
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For her 65th birthday, Debra performed in a raucous and raunchy concert to benefit Broadway Cares/Equity Fights Aids. The concert raised an impressive $140,355 for the charity, and featured a eclectic mix of rock 'n' roll, church music, and debauchery. Well, what else would you expect from Debra Monk?
As comfortable flirting with younger men as she is grinding up against scantily clad fellow comedienne Andrea Martin and Company co-star Charlotte d'Amboise, Debra is a riot from start to finish.
The entire show is available on DVD from BC/EFA, and I need it.
#4: "Ohio Afternoon," Oil City Symphony (1987)
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Performed as part of the "If It Only Runs a Minute" series that highlights really obscure shows that barely had a life, Debra reprised her drum-playing role in 2012. As if she didn't have enough talents. Only she could take drums and make it peak comedy.
#5: Game Night at Seth Rudetsky's Place
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No explanation needed. Hello, Andrea Martin. Love you.
LINK TO MASTERPOST
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ulrichgebert · 3 years
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Ebenfalls ein ziemliches Desaster ist das Leben von Frances Ha*, besonders seit ihre Mitbewohnerin und beste Freundin ausgezogen ist. Sie ist offensichtlich zu naiv, und manchmal vielleicht auch zu impulsiv für die New Yorker Künstlerszene, auf jeden Fall ist sie zu unorganisiert, und außerdem verstehen die gar nicht, daß sie wirklich kein Geld hat. Sie ist aber dabei natürlich auch ganz absolut hinreißend. Greta Gerwig ist der Superstar des “mumblecore”, hab’ ich jetzt gelernt.
               *sie heißt gar nicht wirklich so, ihr Name ist nur zu lang für das Briefkastenschild.
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sondheims-hat · 8 months
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Anita
Chita Rivera (1957), Devra Korwin (1959), Rita Tanno (1960), Rita Moreno (1961), Barbara Luna (1968), Debbie Allen (1980), Lee Robinson (1984), Charlotte D'Amboise (Jerome Robbins' Broadway 1989), Caroline O'Connor (1992), Natascia Diaz (1995), Vivian Nixon (2006), Manoly Farrell (2008), Karen Olivo (2009), Oneika Phillips (2009), Michelle Aravena (2010), Jessica Vosk (2013), Bianca Marroquin (2019), Yessenia Ayala (2020), Ariana DeBose (2021), Amanda Castro (2023).
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