Alright guys! So I owe my parents $250 for Dear Evan Hansen tickets so I’m selling some playbills! I have researched what other people are selling them for and I hope you’ll find the prices reasonable. Of course some of the prices are negotiable. Buy two or more and receive some window brochures for other shows! If you want to see the playbill before you purchase or want to know who was in the show or who signed it, message me! If you are interested in purchasing please message me!
(OBC= original broadway cast OOBC= original off-broadway cast ORC= original revival cast)
25th Annual Putnam County Spelling Bee (10th anniversary concert)- $7
A Delicate Balance- $5
A Gentleman’s Guide to Love and Murder- $5
CInderella (ORC)- $10
A Delicate Balance- $5
Dead Poets Society (OOBC)- $8
Dead Poets Society (PROGRAM NOT PLAYBILL)- $2
Fly By Night (OOBC w/ Adam Chanler-Berat)- $3
Fortress of Solitude (OOBC w/ Adam Chanler-Berat)- $5
If/Then (D.C. Tryout)- $3
Les Miserables (PRIDE PLAYBILL) (2014 Revival)- $20
Natasha, Pierre and the Great Comet of 1812 A.R.T production- $20
Once (Arthur Darvill)- $12
Of Mice and Men (PRIDE PLAYBILL w/ James Franco)- $7
Oh Hello (OBC)- 10 p>
Pippin (ORC)- $5
School of Rock (OBC)- $5
She Loves Me (ORC)- $10
Side Show (ORC)- $5
Sunset Boulevard (ORC w/ Glenn Close)- $10
The Curious Incident of the Dog in the Night-Time (OBC)- $5
The Glass Menagerie (ORC w/ Celia Keenan-Bolger and Cherry Jones)- $8
The Lion King- $3
Tick Tick Boom (2016 cast)- $17
Violet (OBC W/ Sutton Foster)- $12
Big Fish (some cast including Norbert Leo Butz)- $20
Big Fish (Kate Baldwin and Krystal Joy Brown)- $15
Cinderella (some cast including Santino Fontana)- $20
Yay satire! I love satire so I’ll try not to overwhelm you with a giant list, Anon.
Dr. Strangelove - Kubrick’s black comedy and political/war satire with Peter Seller playing three roles and ad-libbing a bunch of lines. Hilarious commentary on the “balance of terror” thinking during the Cold War.
The Great Dictator - Chaplin’s notorious political satire about Adolf Hitler and facism that was released when the US was still at peace with Germany in 1940. Edgy.
The Gladiators (The Peace Games) - this 1969 film was the original Hunger Games. During a time when war is no longer economically viable, world leaders assemble small teams to fight each other on a small scale. And it’s all sponsored by a pasta company.
Life of Brian - Monty Python’s satire on the life of Christ. Enough said.
The Truman Show - Admittedly, I haven’t seen this one yet, but it has been highly recommended to me. Truman is the unwitting subject of a reality TV show in this satirical comedy about reality, popular media, and spectating.
American Beauty - While more of a drama than a satire, this film pokes fun at the American middle-class and their ideas about beauty, love, sex and happiness.
Get Out - Ah yes, you’ve heard of this one? Technically a horror film but also a fantastic social satire about racism in American society today. As Peele stated, “The real thing at hand here is slavery.”
The Princess Bride - the best romance fantasy-adventure film that makes fun of every romance and fantasy-adventure film. Inconceivable!
Sunset Boulevard - the classic film noir that comments on show biz and Hollywood. It’s also full of memorable quotes.
That’s just a few of my top choices so I hope you enjoy them!
people always say that great movie ride is so outdated but i love it. i'm curious about your perspective: how could they effectively "update it" while still keeping it's original intent/purpose the same?
I think the Great Movie Ride’s issue is that it prioritizes the movies over our experiences. Like, Disney was so thrilled to get the rights to adapt MGM’s movies into a park that they forgot to actually adapt ‘em.
For example, if you’ve seen Casablanca, and you were assigned to adapt it into a park, you would ask yourself, “What does the movie make me wish I could do in real life?”
For most fans (including myself), the answer is, “I wish I could hang out at Rick’s.” And lo, a Casablanca restaurant becomes a no-brainer. Everyone who’s seen the movie gets to live the fantasy, and everyone who hasn’t seen it can get a sense of its tone, which may persuade them to watch it someday.
The Great Movie Ride, on the other hand, is designed as if we’d said, “I wish I could watch just one scene, out of context!” It’s bad show, because it alienates the illiterate, and it’s bad form, because it’s two-dimensional content in a three-dimensional medium. EARN DAT REAL ESTATE, BOI
The ride loves making anti-climactic choices like that. How many generations of the audience do they expect to be impressed by the mere presence of John Wayne?
There’s only so much mileage they can get out of, “Hey, look, a celebrity!” Oh, yeah? Then tell that hotshot he can either help us against the bandits or get the hell off the set!
An attraction that’s about history must let us interact with the history, or else it’s history. This is the same sad lesson that EPCOT keeps teaching us.
And to be fair, when the Great Movie Ride calms down long enough to focus, it works well.
For example, if we asked a million people what happens in the Gangster Scene, I bet all of them would talk about getting caught amid crossfire and kidnapped by a gangster, and none of them would talk about passing by James Cagney and hearing some of his movie titles recited.
It’s a good indication of what we, the audience, actually want: a ride that happens to be about movies, not movies that happen to include a ride. Designers who want to scratch this itch should pick a genre or film, and then ask what they make us wish we could do in real life.
For example, I’d love to ride into a slapstick comedy film and have this happen to our ride vehicle:
Or how fun would it be to ride into a musical spectacular, along the lines of Singin’ in the Rain’s “Broadway Melody?” Our ride vehicle could dance along with the ensemble!
This is the sort of approach that I think would not only deliver upon the premise, but also satisfy the broadest possible audience.
It’s not just a good idea; it’s a necessary one. The Suits will take any excuse to replace a non-fiction attraction. The designers must defend against that.
I hosted a Tonys watch party last night and the dress code was as follows: rings of keys, the revolutionary costume for today, Norma Desmond head wraps, cow suits for untalented children, Reno sailor suits, Sunday clothes, arm casts, and 1800s Russian beards
I wish they were today, I’m ready to know who won already. Really looking forward to the broadcast, though, especially seeing what all the shows do. Not so sure how I feel about Kevin Spacey though.
Then comes the first performance after the Tonys which, for the winners, is so electric. The energy and love between the cast/crew/orchestra and the audience is thrilling and I envy those who will able to experience it.
However, I will admit that I love a good upset, always root for the underdog, and can’t wait to see the reaction if it happens. Reaction of the winner that is, I take no joy in someone not winning. Same for the fans of either party, it’s not personal.
I know winning or not winning a Tony doesn’t affect the quality/importance/significance of a show or individual performance, but it is an easily recognizable status symbol and reward for all the hard work that goes into getting a production to Broadway.
Regardless, your experience with a show is yours and yours alone. You should never have to defend that to anyone and don’t engage with those who say you do. The emotional connection to a work of art, of any kind, cannot be quantified or qualified. It belongs to you and no award, or lack thereof, can, or should, diminish it for you.
It’s the most wonderful time of the year! All the eligible musicals are open, all the pre-tony nominations are out, and it’s officially awards season, folks!! I’d like to preface this by saying I haven’t seen any shows this season, so please don’t treat this list as if I have any authority. I just read a lot of reviews, listen to a lot of cast recordings and really love broadway. This is simply me having fun.
Dear Evan Hansen
Natasha, Pierre and The Great Comet of 1812 - winner
Come From Away
I think its safe to say that DEH, Comet, and Come From Away are locks in this category, considering the lukewarm to dreadful reviews for most of the other new musicals this season. The fourth slot is really what’s up for grabs. Groundhog Day has gotten some good reviews, did really well in London, and based off of what I’ve listened to it’s a really fun show. That said, Anastasia, War Paint, and Bandstand are also strong contenders that could replace it. If there’s a fifth slot, I think Anastasia is the next most likely.
Best Revival of a Musical
Hello, Dolly! - winner
Unfortunately, Tony rules dictate that only three shows will probably get nominated this year, unless a fourth show is within three(?) nominating votes. I think Hello, Dolly! is probably going to win, with Falsettos having the small potential to make an upset. (If SITPWG was eligible it would be a strong contender to win, but fortunately for Dolly, it’s not.) That said, because there are only three slots, there’s a potential that Falsettos won’t even be nominated since it closed so long ago and Miss Saigon is also very viable.
Best Actor in a Musical
Ben Platt, Dear Evan Hansen - winner
Andy Karl, Groundhog Day
Josh Groban, Great Comet
Christian Borle, Falsettos
David Hyde Pierce, Hello, Dolly!
Ben Platt has had Tony buzz since DEH’s DC tryout, which is particularly impressive since his performance was able to cut through the Hamilton noise. That said, Andy Karl won in London and has the benefit of being in a show that opened more recently so he would be my second guess to take the win. Corey Cott and Jon Jon Briones are also in the mix for nominations and could replace Borle or Pierce.
Best Actress in a Musical
Bette Midler, Hello, Dolly! - winner
Denee Benton, Great Comet
Patti Lupone, War Paint
Christine Ebersole, War Paint
Eva Nobladeza, Miss Saigon
I think Bette’s the closest thing to a lock we have this season. If Glenn Close was eligible, she’d be a strong challenge, but right now its all Bette. That said, I really don’t know much about this category. My reasoning for Patti and Christine is that nominators might want to give nominations to these two individually rather than giving War Paint a best musical nom, since my impression is that they’re kind of carrying a somewhat drab show. The fifth slot, after Bette, Denee, Patti, and Christine, is a bit up in the air. My (flawed) reasoning is that I want to give Miss Saigon some recognition since I don’t think it will be included in Revival nominations, but Christy Altomare could also easily slide in there.
Best Featured Actor in a Musical
Lucas Steele, Great Comet - winner
Andrew Rannells, Falsettos
Brandon Uranowitz, Falsettos
Michael Xavier, Sunset Boulevard
Gavin Creel, Hello, Dolly
This is really up-in-the-air right now. Unlike most the leading categories, there isn’t really a stand-out candidate. It’s actually the opposite; it’s hard to decide who should even be nominated. I chose the two Falsettos guys mostly because I’m biased and love Falsettos, but objectively it might end up being Brandon or Andrew rather than Brandon and Andrew. My heart wants to give Andrew the win (he should have won for Mormon, damn it!), but my head is saying Lucas Steele will take it.
Best Featured Actress in a Musical
Rachel Bay Jones, Dear Evan Hansen
Amber Gray, Great Comet
Stephanie J Block, Falsettos - winner
Jen Collela, Come From Away
Mary Beth Peil, Anastasia
I think SJB is Falsettos’ best shot to get a Tony and I really think she deserves it. That said, Rachel Bay Jones is also beautiful in DEH so it’s a tight race. This is quite a wide category similar to the featured actor category. Kate Baldwin could also replace either Amber Gray or Mary Beth Peil in this category.
Six days until we find out how incredibly wrong I am!