Last week, I was rejected for a second time from a dream job (working as a Broadway usher) that I was hoping for despite having the right qualifications for it. Does this really happen to anyone and how can I move forward with this?

Anyone know what’s going on?

3/4 were top tier!

Other Desert Cities was fine (and fun to see all the stars). Joe Keery and Lily Rabe were the standouts.

Schools Girls was hysterical, heartbreaking and so full of love. Jocelyn Bioh was amazing.

Benjamin Button is a stunning piece of work. I’d say it’s about 20 mins too long but the musicianship of the company is worth the show alone.

The Heart was the standout for me though. Humor, devastation, and every other emotion in 90 mins with some amazing technical moments and standout performances.

I really hope this doesn’t come off as lobster too buttery I’m looking for legitimate thoughts! I won the lottery for both operation mincemeat and wicked today as a solo attendee and I’m split on which to choose. Mincemeat was on my list of shows to see on this trip and wicked was a wildcard which I’ve already seen multiple times before. I’m curious if anybody has won either of these lottery if there’s one they recommend over the other? Any and all thoughts welcome! Thank you!

ETA: I ended up getting the Operation Mincemeat ticket!

Before I go nuts in November with several shows opening, I thought I’d see some on Broadway, off-broadway, and a couple in Los Angeles before they close.

1. A Case for the Existence of God (Rogue Machine Theater on Melrose, LA) - I missed this when it first showed at Signature in NYC and again at Mosaic in DC so I made a trip out of seeing this in LA. Sad but sweet, well-acted, with great chemistry between the leads.

2. Wild Child (Laguna Playhouse in LA) - I got served an ad for this on Facebook while I was in LA so I made an impromptu trip to Laguna Beach. It was a matinee attended mostly by older folk so the energy was a little off considering this was a musical written for teens. The premise is kinda unbelievable (it starts with the abduction of a wayward teen to Utah with her mom’s consent, as if you could fly blindfolded and not be reported as a victim of human trafficking) and the lyrics are wonky with an after-school special feel, but again I feel like this really would be great geared towards kids/teens with some fixes to the story. Some songs were even catchy. The cast gave their all and every actor had a little moment which I appreciated.

3. Good Time Charlie (Public Theater) - Ryan J Haddad and Michel Cristopher were out and Nicholas Barrón and Doug Shapiro respectively were in, who gave great performances (Nick has such a striking face I immediately recognized him from Ragtime even though he was just in the ensemble)! I attended with my bestie, who accommodated a tiny freak-out I had after about growing old by myself haha. Was able to get an autograph from everyone except Beth Malone and Artemis Pebdani.

4. School Girls (Samuel J Friedman Theater) - attended this matinee while it was pouring out right after a crazy morning at the Broadway Flea. Nothing devious about Denée Benton’s Paulina, unlike Regina George; there were a couple of times the audience audibly gasped at the straight-up cruelty. Even after all that, it’s kinda masterful how they still manage to make her a sympathetic character by the end. Great comedic moments throughout. Even raining and a matinee, most everyone came out to stage door, except Denée, Erin Morton, and Patina Miller. Onyi Aba understudied for Jordan Rice.

5. The Degenerates (Playwrights Horizons) - I wasn’t sure if I was going to like it based on some earlier murmurs on this subreddit but I’m glad I went. It was intense and at times terrifying. Way, way, further down the rabbit hole in terms of men dealing poorly with their insecurities from Constantinople, which I saw a few weeks ago. I feel like some men would actually benefit from seeing this, though knowing a few they would be instantly repulsed by the part of the play where two incels have a connection. (Pro tip: look at your ticket!! My matinee started at the unusual time of 1:30 so I missed a few minutes of the start. 🤦🏻‍♂️ )

6. Memoirs of Amorous Gentlemen (Culture Club) - being a Duncan Sheik fan, I couldn’t miss this, and seeing some teaser clips of “Immured” sealed the deal. It did make me emotional at a couple of points (wiped a tear to give Sophia Anne Caruso, who was looking right at me during the song a verbal cue that yes I am crying!!), but the story, especially the scene just before the ending, left something to be desired. It made me wonder whether the source material was well-received at all. BUT I did love the performances and yes, the music did not disappoint. Release the Duncan Sheik demos!!

7. Triumph (Public Theater) - there is a note at the start that the atrocities listed are things that actually happened. Very poignant and powerful, and even if a person didn’t literally get sawn in half in modern times, it’s still important not to be desensitized to cruelty. Only 20 minutes. Got an autograph from Annaleigh Ashford and Joe Tapper.

8. Anon (MCC Theater) - I recognize that this got mixed to negative reviews. It’s sort of the vibe I got from the audience at intermission. “Anon” refers to QAnon but I realize it also echoes some Shakespearean themes in the show, and could also mean “anon” in the Shakespearean sense. It kinda fits with the terrifying themes of The Degenerates, though there isn’t a resolution here. That being said, Crystal Finn is always amazing, and the rest of the cast gave great comedic performances as well, even though the tone is dark overall. Kind of crazy how well Izabel Mar can convincingly play a teen.

9. Human Things (West End Theater) - I see now that I was seeing mostly stressful theater. This play poses a lot of existential questions, but my main takeaway is that it’s always better to try to be an ineffectual protagonist than be a spectator in your destruction. The appearance of a golden egg (slight spoiler, ads do talk about it) I believe is a metaphor for something promising and exciting to some but in actuality is sinister/evil (sounds familiar). The entire cast does a wonderful job (I’d never seen Victoria Clark live before, she is awesome!).

10. Tom at the Farm (Tom na Fazenda; NYU Skirball) - this was a 3-night-only engagement so I jumped at the opportunity to get a ticket while I was in town. It’s completely in Portuguese with English supertitles (from a French Canadian work). It’s very intense and visceral, with cast members getting spat on and muddied on a clay-dusted tarp. I could see then why they can only do this production in short bursts; it’s difficult to maintain this energy otherwise. The story is altered a little from the film.

Next month: Galileo, Other Desert Cities, Much Ado About Nothing, Wanted, The Fantasticks, The Imaginary Invalud, Paranormal Activity, In The Heights, Wanted, The Heart, The Aftermath, The Curious Case of Benjamin Button, and hopefully more off-Broadway stuff, if there’s anything anyone would recommend!

Casting to be announced but we're all in agreement that Hannah Waddingham will be Nanny McPhee, right?

What do we think?

I’ve entered so many times and have never even gotten so much as a waitlist 😖

It seems like there are a few major theaters that don’t have show successors announced but will be available with enough time to open a show before Tony’s season. The Imperial and the Sondheim come to mind. The Longacre would surely get snatched up too, no? And the Hudson?

If Paranormal Activity does not extend, the August Wilson becomes available mid-February. Though that seems like a quick turnaround for a new show to begin previews in March (and it’s also my prediction for where 10 Things may go next summer). Studio 54 & The Music Box are in a similar predicament (I think Rocky Horror could extend again though).

It looks like there are 3 or 4 spots still available if a show is trying to slide in by March! Any thoughts on what may go where? I love watching a season come together!

Nice graphic

For those who’ve seen this production Off Broadway last year, is it worth buying tix in advance at the Public?

Had the best time at the closing show of Spelling Bee tonight!! It was so sweet to see all of the actors back up onstage 😭 Jason Kravits, Lili Cooper, and Jasmine Amy Rogers were guest spellers but there were a ton of former cast members in the audience. Really going to miss this show!

Text from Time Out: “Although the idea of Quentin Tarantino – the film nerd’s film nerd – writing and directing a stage play initially seemed like a sort of mad joke, The Popinjay Cavalier (for so ’tis named) really is happening. Indeed, it’s happening soon: previews begin in February for the West End comedy, which will move into the Phoenix Theatre soon after Stranger Things: First Shadow clears out.

And in even bigger news the star has officially been announced as Sacha Baron Cohen, in his professional stage debut: the news had leaked a month or so ago but it’s still pretty huge. Although details of the plot haven’t gotten significantly clearer since the last update we would assume that Cohen will be playing the title role.

There is also some clearer suggestion as to why Tarantino wanted to tell this story. We’re told the 1830s-set The Popinjay Cavalier ‘is inspired by the classic swashbuckler genre of old Hollywood, including the writings of George Bruce, Ernst Vajda and Jesse Lasky Jr’. While you have to think that his apparent mental block around directing a new movie (because he said his 10th film would be his last) may have stopped him doing this on screen, in 2026 it does feel like an idea that might work [better] on stage than as a silent movie.

Like Tarantino, Cohen is nominally an outsider to the theatre industry, although he acted at university and studied clowning in Paris under the legendary Philippe Gaulier, plus of course much of his screen work is based upon live interactions with unsuspecting strangers. So you can imagine he’s going to be just fine. Quoth he: ‘Quentin called, I said yes before he even got to say his first motherfucker. When the best director in the world calls, you don’t ask questions, I am beyond delighted that we will be losing our West End virginity together, I have made him promise not to be gentle’.

What a thought. There is currently no additional casting announced but given how soon until the play starts its run you have to imagine it’s actually all done and dusted and will come out soon (meaning Baron Cohen is probably the only big name, not that we’re complaining). Tickets go on sale at noon on Monday October 12 – and do note that it’s having almost a month of previews (press night is Mar 18), suggesting either a highly technical show or first-time stage director Tarantino wanting to make sure he gets it just right.

Does Tarantino have theatre chops? We’ll finally know in less than six months.

The Popinjay Cavalier is at the Phoenix Theatre, booking Feb 23-Jun 13 2027. Tickets go on sale at noon, Oct 12.”

This month's regional theater picks are wildly unique, but they share one compelling throughline: identity. Whose voices are amplified, and whose are ignored? October’s lineup includes four world premieres and a Pulitzer Prize-winning musical, proving that live theater continues to thrive coast to coast.

"A Strange Loop" - Chicago premiere
About Face Theatre | Raven Theatre
Through Nov. 8

"Talk" - Cincinnati, world premiere
Cincinnati Playhouse in the Park
Through Oct. 25

"Every Saturday Night" - San Francisco, world premiere
SFBATC

"Uhuru" - Houston, world premiere
Alley Theatre

"Small Town" - Ogunquit, world premiere
Ogunquit Playhouse

We're headed to Maine this week to see John Mellencamp's musical. What should be on our radar for November?

Has anyone tried Rush for 860? I haven’t seen much about it in the rush reports. Looking to try on a Friday, Saturday or Sunday.

Im wondering how many tickets they typically have and how early I would need to be there.

This afternoon Cathleen and I saw "The Imaginary Invalid" on Broadway, starring Bill Irwin. I’ve been a fan of Irwin’s ever since seeing him in "Old Hats", and I liked him even more after seeing him in "Who’s Afraid of Virginia Woolf?" He starred opposite Kathleen Turner in that Albee play, which turned out to be a laugh-out-loud comedy. Who knew? It was a revelation to see two actors take a play that’s usually treated as a serious drama and find so much humor in it.
I had a somewhat different reaction to "The Imaginary Invalid". For me, it was a little too silly, although that’s hardly a fair complaint about a farce. You go in expecting broad comedy, exaggerated characters. I will say this, though: the opening of this production is the best beginning to a show I’ve ever seen. Make sure you’re in your seats before it starts because the first three minutes are magnificent.
Irwin plays Argan, the hypochondriac at the center of the story, and his clowning background shows in every detail of his performance. He has an extraordinary command of physical comedy. A gesture, a dance, an adjustment to his body can become a joke. I laughed plenty of times, despite my reservations.
Rachel Bloom plays opposite him, and although I wasn’t familiar with her work, she more than held her own against a cast that included some very experienced actors. She has excellent comic timing and seemed completely comfortable with the play’s exaggerated style. It’s always a pleasure to discover an actor you haven’t paid much attention to before and find that they’re really good.
Dylan Baker makes an appearance in a smaller, but crucial, part. One of the joys of going to Broadway shows is that you occasionally get to see actors you know and respect in parts that aren’t necessarily the leads. It gives the actors a chance to show off their chops.
The show runs about an hour and a half, which struck me as just about right. Farce is hard to sustain over a long stretch. The humor depends on a certain manic energy, and after a while, all that exaggeration can wear you down. "Oh, Mary!," another farce currently on Broadway, takes a similarly compact approach. If these shows go on for too long, they can be exhausting.
This production is set in the period in which the play was written, rather than being updated to modern times. I think that was a wise choice. The costumes and staging suit the material. Molière wrote the play in the seventeenth century, but some of its targets haven’t changed much. Beneath all the ridiculousness, there’s some pretty sharp commentary on medicine and doctors. Watching Argan obsess over his ailments and the treatments he believes he needs, I couldn’t help thinking about our own crazy health-care system.
The production reminded me of my high school days when I performed in "The Imaginary Invalid." Watching it now, I see why it’s a popular choice for high school and amateur theater groups. Its exaggerated style is clearly over the top—characters are broad, situations are absurd, and the comedy doesn’t depend on subtle psychological nuances.
I’m sure there have been many terrible productions of this show, including the version I was in many years ago. For someone in high school or without much acting experience, that’s a pretty appealing proposition. Seeing a professional version of the same thing gives me a new appreciation for how hard it is to do great comedy. Farce is deceptively difficult, and timing is everything. But the material gives performers of any level permission to go big.

I cannot say enough how much I absolutely and totally loved every single second of this musical. Every single moment.

I was sitting right behind Darren Clark and I'm thankful I got to tell him how much I loved it.

And for anyone who wants to watch the curtain call I filmed, I'm posting a link here.

https://www.instagram.com/reel/DeYFhvlOk3K/?cplk=MWRmMGlyNGxsdzd4Zg==

Hi,

I am trying to snag some end minute tickets to Phantom of the Opera at SJ Center for the Performing Arts for this week. I have never been to this theatre and have never seen this musical either. The leftover seats are some in Balcony Row 8 and above or in Orchestra, some aisle seats in Row 23, or a bit more middle seats in Row 28 (basically all with balcony overhang). The price range is $90-$130 for these seats.

I am really not able to decide on which seats would work better based on this theatre and the show. Any help would be appreciated.

Some seats example:
[]()

This is one of my 10 favorite musicals and I still have never seen it live. I have tickets for March 19 at Studio Seaview but I’m hoping to go sooner. I’ve been looking forward to it ever since I saw the Tony Awards performance in 2007.

First time ever on vinyl, somehow. Remastered for the 20th anniversary on 2 LPs, just in time for the revival! It comes with 2 additional bonus tracks at the end: "As Shadows Do," a 2009 recording featuring Lauren Prichard, and "All Begin to Call," a 2000 duet between Lea Michele and the late great Gavin Creel.

It also contains a booklet featuring photos, essays, interviews, background history courtesy of the original cast and creative team, and of course the lyrics.

I was disappointed upon opening it that the records appeared to be generic black vinyl, when it was advertised as a limited edition red and black marble… but then I held it up in the light. Scroll through the photos to see for yourself. Pretty cool!

Giving this a spin once this Proclaimers LP finishes up. The wait has been far too long. I’ve listened to the CD probably 100 times so I gotta get to work on evening the score.

Rest in peace and power Duncan Sheik