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| re: was Bierko "unknown to almost everyone"? And did he score? | |
| Posted by: Delvino 10:40 pm EST 02/14/22 | |
| In reply to: was Bierko "unknown to almost everyone"? And did he score? - Chazwaza 05:56 pm EST 02/14/22 | |
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| If you can find evidence that Craig Bierko was anybody’s idea of a box office name, please offer it. Having credits in other mediums doesn’t constitute quantifiable street cred. The return of the show was the event, and the ubiquitous ad campaign - a little boy with a horn - underscores that. | |
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| re: was Bierko "unknown to almost everyone"? And did he score? | |
| Posted by: Singapore/Fling 05:21 pm EST 02/15/22 | |
| In reply to: re: was Bierko "unknown to almost everyone"? And did he score? - Delvino 10:40 pm EST 02/14/22 | |
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| Broadway at the time generally wasn't able to get box office names. Sure, we had Reba doing a high profile stint in "Annie Get Your Gun", but celebrities on stage were more of the C and D list variety, and/or they were odd stunts like Quentin Tarantino in "Wait Until Dark". Craig Bierko, a year after being the lead in "The Thirteenth Floor" felt like the kind of half-celebrity that was typical of the era. | |
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| re: was Bierko "unknown to almost everyone"? And did he score? | |
| Posted by: Chazwaza 04:57 am EST 02/15/22 | |
| In reply to: re: was Bierko "unknown to almost everyone"? And did he score? - Delvino 10:40 pm EST 02/14/22 | |
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| Not only did I not say that, I specifically acknowledged that that wasn't what he was. That doesn't mean he was unknown to everyone. | |
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| Bierko’s Times review | |
| Last Edit: Delvino 11:03 pm EST 02/14/22 | |
| Posted by: Delvino 10:47 pm EST 02/14/22 | |
| In reply to: re: was Bierko "unknown to almost everyone"? And did he score? - Delvino 10:40 pm EST 02/14/22 | |
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| He did okay in the Times: “Mr. Bierko steps into Preston's long shadow with remarkable assurance. At times he seems to be patterning his gestures and inflections too closely on his famous predecessor. But he has a gleaming impishness of his own, never so evident as when he is hoodwinking a group of officious councilmen by turning them into a mellifluous barbershop quartet (charmingly embodied by Michael-Leon Wooley, Jack Doyle, John Sloman and Blake Hammond). Preston's anchoring, reassuring humanity, which always hinted at the latent good guy beneath the scam artist, doesn't come as naturally to Mr. Bierko, who sometimes registers as so glisteningly smooth that you wonder if there's anyone home beneath the veneer. Yet in the show's last scenes, in which Harold realizes his love for Marian, something substantial, a mix of sensuality and shame, suddenly shines through. A little more of that throughout, and Mr. Bierko will have a first-class performance.” In addition to a Tony nomination, he received noms for the Drama Desk, Outer Critics Circle, and the Drama League. He was the winner of The Theater World Award. It didn’t make him a star but he ascended to the starring role in another (if famous flop) a year later. |
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