All good points. I would assert that there is a case to be made, even in a show where the main character is a manifold one (like in A Chorus Line where the gay man's accident precipitates growth for the many through "What I Did For Love"), that there has to be at least one bud of a protagonist that ultimately blossoms before the end of a story. (In romances, perhaps two, as in Higgins and Eliza, Maria and the Captain, etc.), however, I can let that go.
But what's interesting, given that this is a theatre-going board, is that none of these many opinions weighs in on whether Oak does something compelling with the role. Have any chatterati made the journey to see him in it? Does he score with this strangely passionate onlooker-role? |
