Willkommen! This is the official blog of The Diary of a Theatre Kid. This is where it all started. On this blog, we talk about everything from Broadway to regional to live TV musicals! Feel free to send feedback or leave comments on my posts. Don't forget to check us out on Twitter and Tumblr for exclusive content!
Carolee Carmello literally has the most diverse career I have ever seen with any performer. She is amazeballs. There are just no words. For those of you who don’t know she has done...
Audrey in Little Shop of Horrors Anna Leonowens in The King and I Abigail Adams in 1776 Cordelia in Falsettos Donna Sheridan in Mamma Mia Lilli Vanessi/Katharine in Kiss Me, Kate Lily Garland in On The Twentieth Century Mrs. Lovett in Sweeney Todd Lucille Frank in Parade That's barely touching the surface. I mean what the hell is this woman? She isn't human! There is no way she's human. I refuse to believe she's human.
Half a Sixpence Theatre: Noël Coward Theatre (West End) Opened: November 17, 2016 Closing: September 2, 2017 Olivier Awards:
Best Actor in a Musical for Charlie Stemp as Arthur Kipps [Nominated]
Best Supporting Actor in a Musical for Ian Bartholomew as Chitterlow [Nominated]
Best Supporting Actress in a Musical for Emma Williams as Helen Walsingham [Nominated]
Hamlet Theatre: Harold Pinter Theatre (West End) Opened: June 9, 2017 Closing: September 2, 2017 Olivier Awards: N/A
I Loved Lucy Theatre: Arts Theatre (West End) Opened: July 24, 2017 Closing: September 2, 2017 Olivier Awards: N/A
The Mentor Theatre: Vaudeville Theatre (West End) Opened: June 4, 2017 Closing: September 2, 2017 Olivier Awards: N/A
Our Ladies of Perpetual Succour Theatre: Duke of York's Theatre (West End) Opened: May 15, 2017 Closing: September 2, 2017 Olivier Awards: N/A
Natasha, Pierre and the Great Comet of 1812 Theatre: Imperial Theatre (Broadway) Opened: November 14, 2016 Closing: September 3, 2017 Tony Awards:
Best Musical [Nominated]
Best Actor in a Musical for Josh Groban as Pierre Bezukhov [Nominated]
Best Actress in a Musical for Denée Benton as Natasha Rostova [Nominated]
Best Featured Actor in a Musical for Lucas Steele as Anatole Kuragin [Nominated]
Best Book of a Musical for Dave Malloy [Nominated]
Best Original Score for Dave Malloy [Nominated]
Best Scenic Design in a Musical for Mimi Lien
Best Costume Design in a Musical for Paloma Young [Nominated]
Best Lighting Design in a Musical for Bradley King
Best Direction of a Musical for Rachel Chavkin [Nominated]
Best Choreography for Sam Pinkleton [Nominated]
Best Orchestrations for Dave Malloy [Nominated]
Lady Day at Emerson's Bar and Grill Theatre: Wyndham's Theatre (West End) Opened: June 17, 2017 Closing: September 9, 2017 Olivier Awards: N/A
The Wind in the Willows Theatre: London Palladium (West End) Opened: June 29, 2017 Closing: September 9, 2017 Olivier Awards: N/A
Bandstand Theatre: Bernard B. Jacobs Theatre (Broadway) Opened: April 26, 2017 Closing: September 17, 2017 Tony Awards:
Best Choreography for Andy Blankenbuehler
Best Orchestrations for Bill Elliott and Greg Anthony Rassen [Nominated]
Groundhog Day Theatre: August Wilson Theatre (Broadway) Opened: April 17, 2017 Closing: September 17, 2017 Tony Awards:
Best Musical [Nominated]
Best Actor in a Musical for Andy Karl as Phil Connors [Nominated]
Best Book of a Musical for Danny Rubin [Nominated]
Best Original Score for Tim Minchin [Nominated]
Best Scenic Design in a Musical for Rob Howell [Nominated]
Best Direction of a Musical for Matthew Warchus [Nominated]
Best Choreography for Peter Darling and Ellen Kane [Nominated]
Waiting for Godot Theatre: Arts Theatre (West End) Opened: September 7, 2017 Closing: September 23, 2017 Olivier Awards: N/A
A Doll's House, Part 2 Theatre: John Golden Theatre (Broadway) Opened: April 27, 2017 Closing: September 24, 2017 Tony Awards:
Best Play [Nominated]
Best Performance by a Leading Actor in a Play for Chris Cooper as Torvald Helmer [Nominated]
Best Performance by a Leading Actress in a Play for Laurie Metcalf as Nora Helmer
Best Performance by a Featured Actress in a Play for Jayne Houdyshell as Anne-Marie [Nominated]
Best Performance by a Featured Actress in a Play for Condola Rashād as Emmy Helmer [Nominated]
Best Costume Design in a Play for David Zinn [Nominated]
Best Lighting Design in a Play for Jennifer Tipton [Nominated]
Best Direction of a Play for Sam Gold [Nominated]
w Queen Anne Theatre: Theatre Royal Haymarket (West End) Opened: June 30, 2017 Closing: September 30, 2017 Olivier Awards: N/A
Ok so I've been asked several times and have heard conversations about bootlegs and people's stances on them so I figure I'll throw my own two cents in...
"Bootlegs aren't bad as long as you don't try to profit from them!"
Here's my thing as long as when you're recording said bootleg you are not distracting the performers or distracting other audience members I don't see the problem. People use the argument "It takes away from tickets sales." For most shows no it doesn't... Shows like Wicked (Which I have 900+ Bootlegs of) has earned over $5 billion dollars worldwide!!! It's only been running for about 14 years! I highly doubt that bootlegs are going to affect ticket sales especially with the movie coming up it will add more revenue to Wicked. Other shows similar to Wicked are The Phantom of the Opera, Les Miserables and Chicago. I feel like if anything bootlegs will make people want to see a show even more. Hell when I knew I was going to Europe July of last year I had planned to go to London for a day to see the Miss Saigon revival because of bootlegs and how amazing the cast sounded!!! (However it eventually announced it's closing notice so that dream never happened.) Bootlegs also give a chance for other people to shine in roles. Mainly touring cast members, replacements, understudies, alternates and standbys. There are so many understudies and replacements that I love such as Julia Abueva as Kim (u/s in the 2014 West End Revival of Miss Saigon), Dan'yelle Williamson as Elphaba (u/s in the Chicago production of Wicked) and Dan Domenech as J.D. (u/s in Off-Broadway production of Heathers) so many of these people I never would have heard of and loved in these roles if not for bootlegs. I also don't see what the problem is when the show has closed. For example bootlegs of Bonnie & Clyde, Anything Goes and Sweeney Todd. Watching those bootlegs doesn't hurt anyone because those productions are closed and said productions will never return to Broadway. (To clarify this part the actual show may return, but the production itself and it's elements will most likely not return.) My other major problem that I don't understand is why it's a big deal for pro-shot shows to be on YouTube, Putlocker, etc especially when those shows have never been released on DVD. Those shows being Allegiance, Miss Saigon 25th Pro-Shoot (It's only available in the UK I believe) as well as anything done by "Live From the Lincoln Center" and stuff recorded by BroadwayHD. Okay anyway to wrap this up because I'm losing myself in this mess I don't think bootlegs are bad. However! If you try to profit off bootlegs by making people buy them in order to see them or having them trade or some B.S. you're an $%#@&* and that's not cool! Okay anyway I've said my piece. Thank you all goodnight!
So... After a few hours of arguing with myself I've decided that I'm not going to feature any bootlegs from the Universal Studios Japan abridged version of Wicked because not only was that a horrible production design wise that ran for 30 minutes it didn't have the greatest actors in it either. Only one of them actually went onto star in a legitimate production. (Jemma Stevenson if you're wondering.) I have included a full show bootleg on Don't Tell Mama, but that is it. So that's all I really have to say. There are many bootlegs out there on YouTube so if you want to sit through those you can.
