Of course it's possible. And the producers would never ever condone it publicly. I'm not really sure why you think the producers would never violate CBAs though - we just had Here Lies Love on Broadway that very publicly refused to hire musicians which is an even more blatant violation. Broadway isn't a charity - money will ultimately trump anything.
Truly one of the wittiest lines Tim Rice ever written.
It is entirely relevant since the OP asked why would the usher possibly tell them that filming the show was fine, and it's the most obvious answer. We can have a discussion about bootlegs themselves literally ad infinitum but the reality is that as far as the producers are concerned, it's free publicity.
Of course lol. Still, if it makes the producers ef-load of money, they probably don't care (especially that it's really hard to argue for the immorality of bootlegs).
I'm pretty sure with Tommy being overshadowed by almost everything else, the producers are hoping that a bootleg will help - as they usually do, somewhat counterintuitively. So probably not exactly "allowed" per se but ushers got told not to stop people.
Not the West End. It's coming to Donmar Warehouse. Hopefully we'll get a transfer though.
Promotional products? Fuck no. I can consider staying if it's something super urgent (like products that need to be put in a freezer) and I don't have anything going on (like picking up my kids or doctor's appointment). Promotional products can wait till morning. Unless you pay OT, then we can talk.
The fact that Elisabeth has never been staged in English still baffles me. I understand that from a UK/US-centric perspective, it's a niche interest story but the plot is so good it really does stand on its own. I guess Kunze and Levay are wary of staging their musicals in English given that only the most recent London production of Rebecca wasn't a complete disaster.
I think if you're going to be pro-life, CLE is the only way.
Ritual by David Pinner. I ADORE The Wicker Man (goes without saying but the British one of course) and thought that a book it was based on simply must be at least enjoyable. Absolutely not. Probably the worst written thing I've read in a long while. I finally arrived at the sentence "her curved breasts tensed in concentration" and DNF. If I had a paperback, I'd have thrown it out of the window.
I love that Jon is sitting so close to Martin he's practically melting into him
Even 3k is absolutely insane. Paying anything for non-elective care is insane.
Reading the Bible from a secular perspective is important and absolutely should be a part of English classes, alongside Greek and Roman literature. That's what our civilisation was based upon (not just the US but the West in its broadest sense). There is quite a huge chunk of literature that quite literally cannot be understood without some basic knowledge of the Bible (Divine Comedy or Paradise Lost come to mind). The issue is when you start teaching it as religious dogma or worse, history.
The majority of Come From Away. I listened to the cast recording on the train and people were looking at me weird when I started bawling.
Lol I'm pretty sure this "other creator" they allegedly hired doesn't exist.
It would be far more difficult in the modern times. Almost everyone is literate (in the developed countries) and has access to the Internet - it takes literally one person to write a viral article on the inaccuracies and the whole world knows. That said. Hitchens made up a bunch of stuff about Mother Theresa and now the internet hot take any time her name is mentioned, is "she was a monster akshually". So it is - quite sadly - still very much possible.
The Master and Margarita. Truly a book nothing can compare to. Insane depth of storytelling.
Who were lovers? Skater A and B?
ALW called Sondheim a "genius", "peerless", "titan of musical theatre". The idea that he was somehow Salieri to Sondheim's Amadeus is just completely misguided.
I feel like people - especially younger fans - collectively came up with this theory of some grandiose rivalry between Sondheim and Webber, wherein Sondheim was the forgotten genius who couldn't achieve commercial success, and Webber the wealthy musical dilettante who sold his soul to mamona. In reality, they barely knew each other and their musicals rarely entered any sort of direct competition - except maybe for 1988 when both Into The Woods and POTO were nominated for the Tony Award. They lived on two different continents, created from different musical traditions and for different audiences. And sure, ALW acts like human trash nowadays. But he is crazy talented, and at a certain point in history, his music was borderline revolutionary.
The Globe? Meaning the Globe in London? I think you're greatly exaggerating the difficulty. I'd say it's far easier to get a job at the Globe than in the West End - more productions, less commercial therefore doesn't pay all that well etc. You don't really have big names fighting to perform there and I'd go as far as to say it's seen as more of a tourist attraction than this uber prestigious venue you seem to think it is. Getting a role at the NT, yeah that's big. The Globe is a stepping stone for many young actors.
Because they know nothing about history and forget that Yugoslavia even existed.
Jack Ketchum's? I decided to never read it after my true crime obsessed mother said that it made her physically unwell.
I feel like being a "former novelist" is a bit like being a "former mother". You simply cannot, even if you outlive your child.
Anyone ever heard of someone calling themselves or referred to as a 'former novelist'?
writing