| re: The clever title of your Substack is "Tony" worthy! | |
| Last Edit: lordofspeech 12:01 pm EST 01/24/25 | |
| Posted by: lordofspeech 11:57 am EST 01/24/25 | |
| In reply to: The clever title of your Substack is "Tony" worthy! - PaulGrin 09:27 am EST 01/24/25 | |
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| Very entertaining read. Very. Thank you. Loved the Tony Kushner allusion. I wasn’t sure how the dynamic between Herbie and Rose could have been tweaked to show that perhaps a differently-raced couple couldn’t have travelled from state to state as husband and wife. I think it’s a good idea, but it would need a rewrite, and, besides, I think Rose’s aversion to marriage has more to do with her fierce desire to control her life. (I do remember that Tyne Daly, another Rose, took a moment at s curtain call for McNally’s play, called, I think, Mothers and Sons, on the occasion of gay marriage being legalized. She noted that she herself had been married to an African-American at a time when that had been legally questionable, and so she wanted to personally acknowledge the virtue in this shift in the law about gay people. It was a moving curtain-call speech, it was caught on video; it might even have been posted here. Years ago.) I saw Audra’s Rose once she had opened and had practically no reservations about her voice once we’d got through her first big song. I completely adjusted, and she took me to the moon and back with her work. (And I agree that Joy Woods wasn’t perfectly served by the transition stripteases, but that’s very tricky at best.) I wonder what specifically John Dossett did as Herbie to which you were pointing. Did his bitterness and resentment erupt more volcanically? Herbie had been mightily abused. Burstein’s choice to let it all slide off his back needn’t have been the only choice. ANYWAY, THANK YOU!!! |
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