Hall and John Cameron Mitchell, my first Hedwig and my last.so far), Hedwig and the Angry Inch (both off-Boadway in 1998 and on Broadway in 2014, with Neal Patrick Harris, but also with Michael C. Spring Awakening with Jonathan Groff and Lea Michele in 2007 Sunday in the Park with George with Jenna Russell (who made me sob hysterically each and every one of the three times I saw that production in England and here in NYC) in 2008 By far, my most favorite theatrical experience to date. Sweeney Todd with Patti Lupone and Michael Cerveris in 2005. But that being said, the dancing in West Side Story is incredible!Īs it seems you all love a good list, here's two.įAVORITE MUSICALS (in no particular order): Dance-especially ballet-is pretty and all, but it doesn’t excite me as, say, Sondheim lyrics. If I had to choose between a song or a dance, I'd always pick the song. Living in London, England from 1985 to 1986, NYC since 1994, and on my numerous theatrical obsessive trips to England, I've seen as much theater as I can possibly afford. I am not a writer by trade, but I hope to share my views and feelings about this amazing experience we are so lucky to be able to see here in NYC, and in my many trips to London, Enlgand, Chicago, Toronto, Washington, and beyond. But rather than pursuing theater as a career (I did produce and design a wee bit), I became a self-proclaimed theater junkie and life-long supporter. Ross love for theater started when I first got involved in high school plays and children's theatre in London, Ontario, which led me-much to my mother’s chagrin-to study set design, directing, and arts administration at York University in Toronto. To this exploration of myth and dreamlike legend and to The Bergsons, I can only say “Yes”. Enough memories and ideas to fill the air with light from the stars overhead, or enough to tell the passing of time with crystals of sand (or salt) pouring down through an hourglass. It will vibrate through your heart, wondering how so many beautiful and painful suspended memories of love can be created and encompassed. This is a story that breathes hope and desire into us all, signaling that love without fear can last far longer than a Hundred Days, regardless of sickness or health. The space is enlightened further by the specific and subtle choreography, designed with the lightest of touches by movement director, Sonya Tayeh (Encores’ The Wild Party) and lit to perfection by Hungerford (The Flea’s remount of These 7 Sicknesses). Staged simply but majestically by Anne Kauffman (NYTW’s Mary Jane), with scenic design by Kris Stone and Andrew Hungerford, props design by Stone (PH’s The Light Years), costume design by Sydney Gallas (59E59’s Knives in Hens), and sound design by Nicholas Pope (Broadway’s Natasha, Pierre & the Great Comet of 1812), every moment feels authentic and spontaneous.
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