Cher Public

Like breathing out and breathing in

“Critiques of My Fair Lady have focused not only on the show’s final exchange, but on the Pygmalion narrative itself: a man transforming a woman to meet his standards. Not to mention Henry’s bullying tone with Eliza, and her return to him at the end of the show.” Has anyone who assigned, wrote, edited or published this piece ever seen My Fair Lady? Have any of them even read Pygmalion?

Look at these people: aren’t they eerie?

“Ta-da!”

I’ve always believed that Follies, like life, should be relentless and inescapable, so I jumped at the chance to see Dominic Cooke’s new staging for the National, which is done without an intermission in keeping with the authors’ original intention.  Read more »

Time and again I would try to say

Our own publisher and New York Observer scribe Julie Jordan James Jorden plays pundit again for WQXR’s “Conducting Business,” discussing musical comedy in opera houses and dishing about opera singers appearing on Broadway. Photo: Todd Rosenberg / Lyric Opera of Chicago

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A Multitude of Roberts

“What prevents Company from being the greatest musical ever written (which, given the talents going into it, it certainly could have been) is that there is something central to the work that is false, a cheat.” Our Own JJ (not pictured) reveals his theater queen side in Capital New York.

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Angel of peace

La Cieca’s fans worldwide will be happy to note that she doesn’t think scandals are limited to only New York and Bayreuth. In fact, wherever Patti LuPone goes, scandale follows. Right now, La LuPone is in Chicago, and, yes, the Hogtown natives are restless.

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Annie Gets Her Rod

UPDATE: The news breaks today, and yes, it’s Debbie, but no, it’s not Shirtless Nathan.  Letting his defenses down in the role of Frank Butler at Glimmerglass will be Rod Gilfry. (Meanwhile, Mr. Gunn will continue his exploration of the esoteric Blusenrolle fach by role-debuting Eugene Onegin in Cincinnati.)

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A Littler “Night Music”

A Little Night Music at the Walter Kerr last night left me longing for a little more than we were given. Yes, there are some wonderful things about this revival of Stephen Sondheim’s most unabashedly romantic musical – and I’ll get to those in a minute – but the sets and costumes by David Farley are decidedly skimpy and cheap-looking.

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