Jim Parsons is finally turning into a good actor!
In yesterday’s defense of movie-turned-musicals, I focused almost exclusively on analyzing this macro trend, rarely touching upon any specific micro examples.
Ever since the Tony Awards announced their Hollywood-property-dominated slate of nominees this year, a plethora of hot-take-prone cultural critics started — though really continued a trend that predates this season — bemoaning the fact that Broadway looks a lot more like movie theaters nowadays.
For a movie or show to be nominated for Best Score at the Oscars or Tony (or any other offshoot) Awards, the music written for it must be predominantly original.
At the beginning of this season, I didn’t mind the fact that two shows I probably wouldn’t consider my cups-of-tea — Jimmy Buffet’s jukebox Escape to Margaritaville, and the two-part, interminably-excessive Harry Potter and the Cursed Child — were planning to occupy my two least favorite theatres on Broadway: respectively, the Marquis and the Ford Center for the Performing Arts-turned-Hilton-turned-Foxwoods-turned-Lyric (for now).
I will always endorse adding as many new categories as possible to the Tony Awards.
Three pieces of news were announced this week that inspired responses too long to be Twitter-length, but still not meaty enough to warrant their own pieces. Thus, enjoy this written roundup:
Count me shocked — SHOCKED I TELL YA — that the current Broadway revival of Edward Albee’s Three Tall Women is selling SO well SO early in its run.