ATC in NYC

…Mix of the Summer 2014…
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Archive for the ‘Reviewings’

Tomorrow Belongs to Me

October 24, 2007 By: Andrew Category: Reviewings

Go to Andrew's new site to read more about me! Wee!Pardon the shameless self-promotion, but can I just take a moment to plug the brand-new location for all of my future reviews: >Entertainment Criticism.Com<.

Sounds official, no?

In honor of the grand opening, I have uploaded most of my back catalogue of reviews along with a new one, an extremely in-depth and hard-hitting analysis of the Broadway musical Legally Blonde.

Read them for free now because, if all goes according to my dastardly plan, you will have to pay (as in money) to read them one of these days.

Ever After

October 03, 2007 By: Andrew Category: Reviewings

I told you to watch out, David Stone. Many thanks to Holly for winning me a ticket.

Murney was good despite some technical difficulties.So much happened before Dorothy dropped in.

The tagline for Wicked, Broadway’s biggest blockbuster musical, promises to give audiences a different interpretation of a story they thought they knew quite well. And it has been doing so for almost four years now, filling the Gershwin Theatre eight times a week with some extremely… green re$ult$.

There is no question as to why Wicked consistently remains the top-grossing show on the boards week after week.

Read the rest >here<.

Seasons of Love

September 15, 2007 By: Andrew Category: Reviewings

It’s called beating the system, America. If you are willing to wake up at 4:40 on a Wednesday morning, catch a train to Manhattan, wait in line at the Eugene O’Neill Theatre for 3+ hours and present a valid student ID, you, too, can see Spring Awakening from the front row for under $30. Completely worth it. I would be lying if I said I loved it. You would be incorrect to think I hated it. So you might as well just read my review:

It would be misleading if I ruminated on the complexities of the adolescent angst musical Spring Awakening as if I knew exactly what it were trying to convey. I don’t. And I don’t think it does either. Duncan Sheik and Steven Sater’s radio-ready score has copulated with a nineteenth century cerebral German drama to give birth to a lovechild of sexual discovery, both liberating and intimidating. But somehow, this mishmash of social taboos in pre-war Germany has met the Dawson’s Creek generation to proudly declare that it doesn’t know what it is trying to convey, frustrating the audience in the very same manner as its conflicted teens. >Continued…<