It is based on an original story by Celeste Lecesne and the Academy Award-winning short film, Trevor, directed by Peggy Rajski. Holden William Hagelberger stars in the title role of the musical, which follows 13-year-old Trevor as he struggles to navigate his own identity to determine how he fits in a challenging world. Marc Bruni and Joshua Prince direct and choreograph, respectively. Sh-K-Boom Records will record a cast album featuring the original off-Broadway cast, with a release date to be announced. Trevor features a book and lyrics by Dan Collins and music by Julianne Wick Davis. The show opened on November 10 after being delayed due to the Broadway shutdown. Trevor, the new off-Broadway musical based on the Academy Award-winning short film of the same name, will play its final performance at Stage 42 on January 2, 2022. The show played its final performance on December 19. It also answers the question of the show’s title: Pets make the best boyfriends.UPDATE: Due to positive breakthrough COVID-19 cases in the company, Trevor: The Musical has canceled its just-announced final two weeks of performances. A woman behind me noted, “That woke everybody up.” A little later, Bushnell brings her two matching designer poodles on stage to even more thunderous applause than the “Gucci! Gucci! Gucci!” line. The first comes when Bushnell throws a bunch of scrunchies into the audience. Two inspired directorial moments emerge in the dead air. Lorin Latarro directs Bushnell to pause for laughter even when there isn’t any. It’s uncomfortable listening to Bushnell’s gripes about being a member of an oppressed majority group when her place-dropping runs the gamut from Aspen to Sag Harbor to Chateau Marmont. Bushnell is something more insufferable: She is a whiny winner who flaunts White Female Privilege. It’s another show whose moment was a decade or two ago. It’s a good thing for these theatergoers’ bank accounts that Carrie Bradshaw worships at Manolo Blahnik, not Maserati.Įarlier this week, the new “Mrs. “And I wrote Gucci! Gucci! Gucci!” Bushnell cries with raised fist, to much applause. That offensive script is projected on stage so we can witness the error and how Bushnell rectified it with her red pen by crossing out the name Bloomingdale’s. Bushnell tells us about her moral outrage over an early script of “Sex and the City” that had her beloved characters shopping at a bargain-basement dump. Planet-destroying consumption is Bushnell’s credo, and we’re not talking just any old buying binge. Even before “Is There Still Sex?” begins, Anna Louizos’ living room set promotes alcohol in the Candi Bar downstairs, and, if we missed it, the pre-curtain message to wear masks and turn off cellphones also features a plug for imbibing booze on the premises. Bushnell hawks her “Sex and the City” franchise, as well as her many books. Her one-woman show is autobiographical, and borrows more than a little brashness from Suzanne Somers’ life story, “The Blonde in the Thunderbird,” seen briefly on Broadway in 2005. Then again, she has the advantage of having written “Is There Still Sex in the City?,” which opened Tuesday at Off Broadway’s Daryl Roth Theatre. That honor remains a toss-up between Madonna in “Speed-the-Plow” and Macaulay Culkin in “Madame Melville.” Both these performers appeared to be reading from their respective script for the very first time.Ĭandace Bushnell is a much better memorizer than either Madonna or Culkin. It’s not the worst performance ever seen on the New York stage.
0 kommentar(er)
