Threaded Order Chronological Order
| Alexis Solski’s review | |
| Last Edit: singleticket 11:58 pm EST 12/16/22 | |
| Posted by: singleticket 11:52 pm EST 12/16/22 | |
| In reply to: Stop forcing woke down our throats - FinalPerformance 03:45 pm EST 12/16/22 | |
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| Not so much a critique of “woke” on Broadway as a critique of the banalization of woke via a Broadway musical… the weary pro forma aspect of it. |
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| Link | Some Like It Hot review – Broadway adaptation is lukewarm |
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| re: Alexis Solski’s review | |
| Posted by: Ncassidine 10:17 am EST 12/17/22 | |
| In reply to: Alexis Solski’s review - singleticket 11:52 pm EST 12/16/22 | |
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| "attempt to bend the source material into shapes it doesn’t want to go. A lot of the songs sound like pastiches of other, better songs, like Let’s Be Bad, borrowed from Wittman and Shaiman’s Smash soundtrack and indebted to All That Jazz, or Ride Out the Storm, which wants to be Stormy Weather and isn’t. Some songs, like a couple of Hicks’s numbers, A Darker Shade of Blue and At the Old Majestic Nickel Matinee, shouldn’t be here at all." I actually agree with this. I enjoyed the show a lot, but many of the songs sounded like other shows or shouldn't be there at all. |
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| “… a beribboned road to truth” | |
| Last Edit: singleticket 12:15 am EST 12/17/22 | |
| Posted by: singleticket 12:14 am EST 12/17/22 | |
| In reply to: Alexis Solski’s review - singleticket 11:52 pm EST 12/16/22 | |
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| From Solski’s review: Wokeness merely refers to an awareness of systemic bias and injustice, past and present, which any revival or new adaptation should have. Here Lopez and Ruffin have written Jerry/Daphne, Sugar and the bandleader Sweet Sue as shrewd expansions of the original. But in wanting to treat the comedy of men in dresses with greater care and sensitivity – a terrific goal in and of itself – changes the meaning of Some Like It Hot itself. The original, in its sophistication and ambivalence, is a celebration of disguise, of the quick wits, silver tongues and wild cheek that let Joe and Jerry juggle their multiple fictions. Yet in this version (as in López’s earlier play The Legend of Georgia McBride), drag becomes a means to self-acceptance, a beribboned road to truth. It’s scrupulousness that’s feted here, not the scam. Here’s the millionaire’s response to Daphne this time: “You’re perfect.” |
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