SOB's Least Favorite Shows Of The Noughties: #4 - The Best Little Whorehouse In Texas
SOB's Least Favorite Shows Of The Noughties: #4 - The Best Little Whorehouse In Texas (2002, Orpheum Theatre, Minneapolis, Minnesota)Introduction: Hard as it is to comprehend that we're already 119 months into this "new" millennium, we are fast approaching the end of its first decade. While we have yet to agree on what exactly we should call the '00s, I'll take a cue from the fine folks at The Times of London and the BBC and henceforth refer to them at the Noughties.
With that small introduction, I'm not only pleased to present my list of my top 25 favorite plays and musicals of the Noughties, but also a simultaneous countdown of my five least favorite shows out of the hundreds and hundreds of shows I've seen over the last ten years.
There's nothing like a good star vehicle to tell a cheap and tawdry story. Unfortunately, The Best Little Whorehouse In Texas revival that toured the United States in the aftermath of 9/11 simply felt cheap.
As someone who has admired Ann-Margret through her lengthy career, I was eager to see her perform live. But as Madame Mona Stangley, the Swedish kitten seemed incapable of anything but preening and posing directly to the audience, as if there were no other players in the show. Not even Gary Sandy's best efforts could save this disappointing show.
In a word: “Atrocious.”
This is Steve On Broadway (SOB).
In keeping with the new Federal Trade Commission (FTC) regulations that unfairly discriminate against bloggers, who are now required by law to disclose when they have received anything of value they might write about, please note that I have received nothing of value in exchange for this post. I paid my own way for each performance.
Labels: Ann-Margret, Gary Sandy, Minneapolis/St. Paul, Musical, Revival, SOB's Least Favorite Shows Of The Noughties, The Best Little Whorehouse In Texas, Touring Production
posted by Steve On Broadway (SOB) @ Sunday, December 06, 2009
3 Comments:
it was dreadful..........
Could not agree with you more. I cringed every time she sang because inevitably she'd move to the edge of the stage and sing directly to the audience, the scene and any actors sharing the stage with her be damned.
Can't help but wonder what the director was thinking.
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