Cabaret, Pippin, The Wiz, The Sound of Music, Hamilton, Rent, A Chorus Line, among many, many others. The segment even included some nice clips of old acceptance speeches — how great to see Michael Bennett and Daisy Eagan again? If anything, the number was a bit too crammed with good stuff and requires at least one replay to catch all the references.
was a fine introduction to a hard-to-encapsulate musical that deserves all the love and attention it gets.andmight have been better served by songs that highlighted specific performances — LuPone’s “Ladies Who Lunch,” for example, or ‘I Want You” from the Dylan musical — than the busier ensemble numbers chosen tonight. The over-the-top marching band shtick ofno favors with the tired Borscht Belt scat-singing that doesn’t begin to capture the charm of that musical.
In an evening that offered next-to-no political grandstanding — for better or worse — the most powerful such moment came fromplaywright Tracy Letts. During a clever taped segment in which nominated playwrights offered, among other observations, what they hope audiences take from their nominated plays, Letts said bluntly, “I hope the audience comes away with the burning desire to stop the rise of fascism in this country.
This prank is member of the criminal band who wears spy equipment in heads to humiliate people for money. They act illigally, some of them disabled. They do singers ataching their heads to my body without right because they sketched it before as digital copy of Diana Spencer
Thanks