re: Death Becomes Her/She/Me
Last Edit: Jason 10:07 pm EST 12/30/24
Posted by: Jason 10:06 pm EST 12/30/24
In reply to: Death Becomes Her/She/Me - AnObserver 11:58 am EST 12/28/24

Wake up, AnObserver.

"There was no message here about women’s rights or female empowerment."

Last time I checked, Death Becomes Her was a parody of the youth-obsessed culture in which we live. It's a commentary on how aging is still looked at as the proverbial kiss of death for women. The two leads decide to take control of that. Sounds pretty feminist to me. Also, it's camp and a beloved piece of queer culture. Hope I haven't just made the show too woke for you.

"I was pleased to see others on Show Score agree with me about all of this."

I find a lot of your comments to be gross, ignorant and narcissistic. The fact that you praise a list of white actresses (I know that Carol Channing passed and Barbra Streisand is Jewish) and say our culture doesn't allow for them anymore in one paragraph and then ridicule a black actress in another, says a lot. It's a prime example of microaggression.

"Do theatre composing classes encourage The Jeanine Tesoris and The Jason Robert Browns of the world to write this stuff? Do professors think it’s Sondheimian?"

Please don't bring Sondheim in to this. No one is looking for the next Sondheim because we all know there is no next Sondheim. I find the works of Jeanine Tesori and Jason Robert Brown to be quite lovely and very memorable. I constantly have songs from Parade, Songs For A New World, The Last Five Years, Fun Home, Shrek, Kimberly Akimbo, Thoroughly Modern Millie and Violet stuck in my head.

Why do I get the feeling you probably don't like South Pacific. Or most musical theater.

Take care,
Preacher Jason (he/him)
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