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Is *that* Sunset Boulevard scene dangerous? | The truth behind what is going wrong on Broadway...
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- [00:00]
Micky Jo
Does anyone remember that one? RuPaul's Drag Race alumni roundtable where Derrick Barry thought people had been killed at Stonewall and then got told that nobody was killed at Stonewall? That's been playing on my mind a lot today because, and this may surprise you to learn, but there have thus far in fact been no fatalities during the filming of the Sunset Boulevard Act 2 sequence in New York. The question of the day is, is that moment in Sunset Boulevard dangerous and hazardous and irresponsible and ill conceived to perform in New York, or do people just hate fun? Whatever happened to fun? That is a lot of gay references for the opening of this video. Oh, my God. Hey, welcome back to my theatre themed YouTube channel. My name is Micky Jo. I am a theatrical content creator, pundit, critic, whatever, here on social media. If I seem a little ill Tempest today, it's because I don't think this is really a video that was necessary for me to set up all of this equipment and dress like I'm in Sunset Boulevard and put these ring lights here to. To joke about Jamie Lloyd or whatever and to find appropriate plushes to put in the background. The cat is for Nicole Scherzinger. Oscar the Grouch is because that is how people are behaving about this situation. And he's also canonically from New York. In short, this is discourse that simply does not need to be discourse, but because it's discourse, I'm here talking about it. People have asked me about this. Everyone is talking about this on TikTok. So. So we are making a video discussing it, hopefully putting the whole matter to rest. And this is something that is currently unfolding on the streets of New York, where I am traveling to in just over three weeks. Oh my goodness. I am excited. But you may be wondering why I'm weighing in on this at all, because I'm not currently there. Well, this is all about the Jamie Lloyd directed revival of Andrew Lloyd Webber's Sunset Boulevard, which is currently in previews and soon to open at the St James Theatre on Broadway. Broadway and as part of the show. And there are going to be spoilers hereafter, by the way, if you haven't seen it yet, there is a particular stunt that they perpetrate. I'll tell you more about it when we get into the main part of the video, but it involves them. Here are the spoilers. Going outside of the theater during the performance with a live video feed that relays live footage of this back into the St James Theatre for the audience at the show. Anyway, the reason that I'm weighing in on all of this is because this revival, if you don't know, originated at the Savoy Theatre in the West End, London. Got it first. Hahaha. And it had a limited run here during the bleak British winter. So all of the conversation that's happening now around the possibility of like people finding out about this and of weather affecting it has already been played out in the West End. And I have both seen the show and recreated the path that he walked while singing that song for a recent scavenger hunt task Sunset Something something for the stony hearted. Let it never be said I don't know how to have fun and I feel like all in all people are being a little bit over dramatic about this. Is it more complex on Broadway? Sure. Have there been a couple of snags already? Yes. But in today's video we are going to talk about this. Is this Sunset Boulevard moment really dangerous and hazardous and everything else that people are saying that it is? Is it the failure that people are branding it? My short answer is no. The longer answer is today's video. Make sure to comment down below with your thoughts. I welcome all feedback. Not everyone is going to agree with me about this. People have very strong opinions about this already, it seems. Let me know if you've already seen this either from inside the theater or from the street. Has anyone watched this moment happen either when it was in London or already in previews in New York? And if you enjoy the video, make sure to subscribe to my theater themed YouTube channel and go find me on other social media platforms. I was gonna make a TikTok talking about this, but then I decided it needed a little bit more time. But there are a handful of hot takes and little opinions that I only ever tend to really share to that platform. So if you want to make sure you're getting all of the Mickey Jo op on the Internet, go find me on the app formerly known as Twitter, on Threads, on Instagram, and on TikTok. Ow. I just banged my knuckles together and it hurt. And somehow this is Jamie Lloyd's fault. Anyway, let's get started on today's video. So we are going to speed our way through this historical context. Sunset Boulevard, a musical adaptation of the classic film that was originally produced in the 1990s, first in London and then on Broadway, composed by Sir Lord Andrew Lloyd Webber famously originally starred Patti LuPone, who was contractually going to transfer with the show to Broadway. Andrew Lloyd Webber pierced that contract by replacing her with Glenn Close. Patti then famously destroyed her London dressing room with a baseball bat, sued him, and used the money that she won in the lawsuit to pay for a swimming pool that she now refers to as the Angela Webber Memorial Pool. That, shockingly, is an important detail I'm going to refer back to later. And though Sunset has been revived multiple times since, including in the West End and on Broadway, this is certainly the most notable revival that the show has ever received because this one has been directed by Jamie Lloyd, the bad boy of the theater world. Jamie has always been this wunderkind director who in recent years has become more and more emboldened in creating shows in his own style. People call it stripped back, but I don't think that's really a very accurate description of what it is. Certainly there are many elements that are stripped from the production, but per his ethos and mission statement, now as part of the Jamie Lloyd Company, with his considerable success, the idea is to uplift and celebrate the text and the material. Now, to my mind, this has in recent years worked to varying different levels of success. There are productions of his that I have loved, including Sunset Boulevard. I'll tell you more about why momentarily. I also really enjoyed the Seagull. I enjoyed lots of Cyrano, and there are productions where I didn't think that this worked as successfully with something like Romeo and Juliet, where many of the same choices that made Sunset Boulevard so masterful and so brilliant seemed to distract from the text in Romeo and Juliet, or they didn't seem to heighten or add anything. If you're intrigued about Jamie Lloyd's directorial style and kind of his history and also the productions that he's already set to direct over the next few years. There are more, by the way, that I'm hearing rumored that I'm both intrigued and concerned by. I've made a video about that here on YouTube. Just search Mika Geo Theatre Jamie Lloyd if you want to know everything I thought about Sunset Boulevard, I made a review of that while I was in the West End. And if you want to know what I thought about Romeo and Juliet and why I kind of hated that production, I made a review of that as well. Do not worry. I hope you didn't have plans for the evening. I have a lot of videos for you to watch after this one, but let's stay on task. What I love about this revival of Sunset Boulevard is all of the decisions feel purposeful and the overall concept is that where you've previously had this production with a very lavish set design, giving this sort of time capsule of old Hollywood glamour because this young screenwriter named Joe Gillis stumbles into this mansion where the forgotten former silent screen star Norma Desmond is still living as a recluse. And she's usually wearing this turban. And there's a car on stage and there's a swimming pool and there's all these stairs. This production doesn't have any of that, at least not in a non tongue in cheek way. They nod to a turban at one point, they nod to a car. But we don't see those things created on stage because this one features monochromatic contemporary dress and no real set pieces to speak of. What we have instead is a giant cinema screen that lowers onto the stage and a live feed from various handheld cameras that is relayed to it. For the most part, this is cameras capturing what we are seeing on stage. So we're seeing it twice. We see it happening on stage, then we see the camera feed of it as well. Occasionally it captures moments backstage and at the start of the second act it captures moments that begin backstage and then travel outside of the theat and culminate on stage, which is a thrilling moment. Everyone applauds and loses their minds. This is the moment that we're going to be talking about. And just before we do. If at this point you're thinking that this all sounds a bit self indulgent and detracting from the piece, then you know there will be other Sunset Boulevards in the same way. People complained about Daniel Fish's revival of Oklahoma, the one that was dubbed Sexy Oklahoma. It's not definitive, it's not forever changing and overwriting the history of the show. There will be another traditional Oklahoma in five more minutes. If you don't want to get on this bus, you can wait for the next one. That is how these things work. Sunset Boulevard is not the only Sunset Boulevard happening globally right now. There's one in Sydney, Australia that didn't have nearly as good reviews, even though it has a lavish set and more closely matches the traditional aesthetic and vision for the show. Something to consider, but to my mind, and I don't always love cameras on stage, I wasn't completely convinced by their use in the Picture of Dorian Gray. Also soon transferring to Broadway with Sarah Snook. I loved the cameras in this because from the beginning the story is being told by a Hollywood screenwriter and it has this relationship to cinema, this giant cinema screen. It makes sense for this to be how we are seeing the world because Norma has never freed herself from the version of her that was created on screen, she has scarcely been able to function as a real person. Outside of that. She is trapped in her home. She's trapped in her own mind. But in many ways, she is still trapped inside the silver screen. And this production shows that in a more literal way. It also nods to itself very meta theatrically, which is what this Act 2 moment is. So let me explain what happens at the top of the second act of Sunset Boulevard. These are going to be hefty spoilers. If you don't want to know, you've already come too far. So when the overture begins with the screen deployed on stage, because it's not always down, sometimes it goes up and Scherzinger just belts her face off. Being a mother. That's why I've worn the hat, by the way. But when the overture begins, we on the giant screen get a live feed. Feed from backstage where Tom Francis, the leading man who plays the role of Joe Gillis, or whoever is playing Joe Gillis at that performance, I should say, is walking around backstage and chatting with cast members. This. This is not improvised. This is all very carefully choreographed and pre rehearsed, but it's meant to look out of character to a certain extent. He goes into different people's dressing rooms and it kind of nods to different things. Nicole Scherzinger, if you don't know, is an alumnus of the pop group the Pussycat Dol. And there is like a poster of that on her mirror. She's also written Mad about the Boy in Lipstick and she's wearing a turban. The only time we see her wear a turban in the show. Oh, wait, the Pussycat Dolls poster is on Max's mirror. Yes, Max the butler is played by David Thaxton, who is kind of obsessed with her. And so that's. That's it nods to various things within the show. And he's walking all around backstage and at the moment he walks up to the stage door in London, he kind of crossed the stage area and it teased that he might be about to start there, but then he kept going, continue up some more stairs and then went out the stage door and he's outside. He then begins to sing the title song, Sunset Boulevard, the first song in the second act. After the. After the entrack. Did I say overture? I meant ontrack. He sings this outside. The orchestra is playing live. He is hearing them through in ears. He is singing live. How they manage to do this with no delay whatsoever is kind of mind boggling. They achieve what Zoom can't. But it's been done enough times and it's gone like the littlest bit wrong enough times in London to quantify that. It is happening every single show. He has told a story about when he forgot the lyrics and had to just like do a little bit of scatting to try and cover the fact that he'd forgotten the lyrics. There are also like a couple of performances, I believe, where the feed had failed. They don't cut to a pre recorded version. They are literally doing this live every single show. And so what happened in London is he would sing the song, he would walk around the perimeter of the building. That would send him up some stairs, down the Strand, very briefly on a main road, but alongside a pub, there would be many security people with him. There was a member of the company, an actor who is holding the camera, who is sometimes walking backwards, who's doing a remarkable job, by the way. I personally couldn't take the pressure. There was another member of the company who was designated as the umbrella holder at performances. When there was rain, he would have an umbrella with him when it was raining, when it was snowing, they encountered like all sorts of bad weather in the London run, of course they did. It was London in December. And while he was outside, there were a couple of little specific moments that would. At one point he would turn, face the camera and gesture to the signage on the side of the Savoy Hotel that had the logo for the show. As he is singing Sunset Boulevard, he would point to a sign that said Sunset Boulevard. A little later on, he would crouch down next to a small like stand poster for Nicole in the show and he would gesture to the image of her as he is singing about Norma. As he's singing, and if I'm honest, I like the lady. I find I'm rather touched by her folly. Thereafter, he simply heads directly into the theater, down many flights of stairs in the Savoy, into the auditorium and up onto the stage just in time to finish the song. It's a thrilling moment, but it's not meant to be considered literally. We know that this is clearly not the streets of Los Angeles. This is clearly not Hollywood. This is not Sunset Boulevard. We can see that it is London. He is pointing to the title of the show that we are watching. He is pointing to a poster that says Nicole Scherzinger on it and has pull quotes. It's metatheatrical. We are nodding to the concept. He is our storyteller telling this, telling the story that is the show. And this is another comment that I've seen a lot of people complaining about the moment because they say, well, it's, It's. It makes no sense to me. Why is he doing this on New York at all and singing it like it's Sunset Boulevard? This revival is not literal. That is not the artistic vision for this production. Hence, no car, no stairs, no. No chimp funeral, no lavish costumes. The whole thing is anachronistic. They are playing it as though it's within the time period where it's set decades ago, but they are typing the script on like an imac. Anyway, that was the London production. The only real variation I need to tell you about is when they performed it at the Olivier Awards. Now, what I love about this team is not only did they have the innovation and creativity to make this moment work and do this thing that has never been done before with live music to this extent. Yes, this. The idea of, like filming outside on live feed has been done before. Ivo Van Hove did this with Network, and I don't think that's the only other time that it happened. But Bryan Cranston stepped outside of the theatre. That happened in London and on Broadway, FYI. But he wasn't doing a whole route around and he certainly wasn't singing at the same time as an orchestra was accompanying him, which remains, I think, the most impressive part of all of this. If anyone's tried to harmonize with someone you're on a zoom call with before, you'll know exactly how hard that is. But back to the Olivier Awards. Nathan Amzi and Joe Ransom, who recently won the stage debut award for this kind of first creative foray into this field. And that was very well deserved.
- [14:49]
Tom Francis
So basically, he woke up one day and said, I've got this idea. He went and spoke to Tom about the idea first to see if, like, Tom was down for it, and then brought us, all the technical people into a room and he said, so this is my idea. And everyone went, oh, well, that's not gonna happen. And I said, said I was the only one who said, no, yeah, I think we can do it. And I was just, like, really confident. Yep, we could do it. And Adam, the sound designer, was like, no, how are we going to do that? And I said, look, we just figure it out. So, yeah, we were terrified. And then when we didn't get it to work a lot, I was like, oh, no, I shouldn't have got in so strong. But, you know, that's what Jamie does. He pushes you to extreme. And we did. We. We've got there in the End we made it work and it's still working. It's great.
- [15:34]
Micky Jo
They created a version of this for the Oliviers, where Tom began performing the title number on the steps of the Royal Albert hall where the Olivier Awards were taking place. Walked up into the corridor, walked around past Nicole Scherzinger who had gone to stand there alongside him at one point so he could gesture to her into the auditorium and finishing it on the stage. Another. Wow, brilliant moment that everyone went nuts for. But comparatively a lot easier to pull off because the whole area was private and quiet and everyone was in the inside, sat in their seats. But as soon as it got announced that the show was transferring to Broadway, everyone was like, what theatre is it going to be in? Where is he going to be able to pull this off? Is it going to go to like the Marriott Marquis? Because that's inside a hotel, not unlike how the Savoy Theatre neighbors the Savoy Hotel. So that would give them a certain amount of access. I, for the longest time thought it was going to go to the Hudson. Now they have a breezeway connected to. I can't remember what the hotel is, but there's a hotel next to them that would allow them to like go out the stage door, come through this hotel and then go very slickly into the, the front of the box office, the front of the house. But ultimately they announced that they were going to the St. James, which is quite a high capacity theater. They are hopeful this is going to be a big hit. Allegedly. It was reported in the New York Post that Jamie Lloyd personally turned down the Broadhurst Theatre. Now, Jamie Lloyd is not the only person making decisions on this show, even though that's how it may be talked about. And he is certainly a artistic visionary who is the strong creative driving force behind this production, who seems to be inherently trusted by everyone working on this production. People only have good things to say about Jamie Lloyd, FYI. But it's also ended up going into an ATG owned house on Broadway. Atg, who are among the producers of this production. So it's not really too much of a surprise. But the St. James doesn't leave them with the most obvious walk around route. And there was a lot of speculation. Are they going to do it on the roof? Are they going to do it on the little balcony thing on the side of the building? What are they going to do? And that's a question they were also asking themselves as early as the days before previews. I heard at one point that they had ambitions of getting all the way to Times Square. From the St. James. Now, this is not a incredibly long walk, but you have to consider he's got to get there and come back and then get to the stage and do all this from the stage door. And you'd be surprised. Like, the walk in London was very short. It's not a lot of time that this song affords. So they explored the possibility doing this on a scooter. So if you think the version of it is a little haphazard now, imagine Tom Francis being filmed while on a scooter to Times Square, which is lawless at the best of times. Turning around and then coming back to the theater, like the version we have now is wildly pedestrian compared to that. But speaking of pedestrian, this is the only issue it really faces, because what the man does is he comes out of the theater, and I haven't seen it yet from inside the St. James. So I don't know everything that happens visually. But from. From those who have watched it from the street, shout out to my friend Ben Lebowski. You can find his coverage of this on TikTok as well. He exits the St. James Theater. He crosses the street, which has everyone losing their minds, and then he walks up something called Schubert Alley. Now, Shubert Alley is this open space in between 43rd and 44th Street, I believe, in New York, that runs alongside the Shubert and the Booth Theaters, which are connected to each other. On that connecting wall are posters for various Broadway shows. And he walks up Schubert Alley and stands next to a Sunset Boulevard poster, presumably at the same moment where he can sing the lines about Nicole singing. And if I'm honest, I like the lady, I find him rather touched by her folly. Interestingly enough, this is not important to the video, but on the other side of Shubert Alley is Junior's restaurant, and specifically the takeaway window where you can get their world famous Junior's Cheesecake. I can really only recommend the Devil's Food. Cheesecake is probably the one I'm thinking about the most at the moment. That's not important to this. I just thought I'd share that with you. Anyway, the only other difference that we have seen with the New York version is that the ensemble are now involved. And as he is walking back to the theater, they seem to come out of nowhere and join behind him and clump around. And he is leading this army back into the St. James, all walking defiantly like one of those aggressive sportswear Runway shows where everyone is very stylishly dressed but looks depressed about it for some reason. And bear in Mind, amongst all of the uproar about this, he is only out of the building for what I think is probably about a minute and a half. He is only on Schubert Alley for a total of 30 seconds. He walks up, he does his thing, he turns around, he goes back. But the other night they ran into a little bit of a snag. And the reason is because the timings didn't quite work out neatly. And I gather from my friend Kate Reinking, this is because while the show is still in previews, they are rehearsing things during the day, meaning they have a later curtain time of 8pm on days when other shows nearby would swap to a 7pm curtain. So sunset Boulevard on this particular night in question started at 8pm in Hell's Kitchen, which is at the Schubert Theatre jukebox musical loosely based on the life of Alicia Keys. Very crowd pleasing. That started at 7, meaning Sunset Boulevard, about, I guess, like an hour and 20 in accounting for an hour ish Act 1, 50 minute intermission, 5 minute on track. He then starts to do the thing at an hour and 20. Hell's Kitchen at this point started an hour earlier. So that's 2 hours 20 into their show. The show is finishing, everyone is pouring out of the theatre, filling Schubert Alley. At the exact moment that he is trying to walk up and down it. Suddenly there is a collision of people in what the night before was very quiet area. And I am a little puzzled by this because in London they had sent more security up ahead to clear his path and put barriers in, because, you know, during the run, people had started to cotton onto the fact that he was going to do this. And certainly for matinees for daytime performances, people would come and watch. For the last matinee in the West End, there were like 200 people, I believe, watching on the street. But these people at Hell's Kitchen, it hasn't really penetrated the full zeitgeist yet. In New York, they did not know that this was happening. Many of them got out of the way and a small group of people didn't. Tom Francis handled this like a pro. Like, you would not know from his face that this was anything other than an ordinary thing that he'd done hundreds of times, even though this was only like, still one of the early previews in New York. And he wasn't expecting to encounter that many people, unless, of course, they'd done the maths beforehand and figured out that this might happen. The reason this got a little bit dramatic is even though you had, I guess, like Stage Management, security staff running up ahead saying, clear a path, clear a path, clear a path. A small group, three or four people didn't. And there was one particular person in a blue baseball cap who, it's been reported by eyewitnesses, kept trying to walk into the frame and kept trying to walk around them. I don't know if she was trying to get Andrew Lloyd Webber lawsuit money or if she just resented the idea of being told that she couldn't stand in a specific spot or to move slightly out of the way for 30 seconds of her life. But as they were then leaving the Shubert Alley area, there was a security guard walking backwards with his arm outstretched who kind of like, it's not actively a push, but as she deliberately walked in front of him, she got moved by the arm. She did not fall to the ground. She was not shoved. She was not picked up and thrown. I don't believe she suffered debilitating injuries. I don't want to, like, say that it's not a big deal for someone to get knocked out of the way, but also, if you try and run into the security people while they are doing this, that's going to happen. If on your daily life, walking around New York, I don't know, the president should appear and is accompanied by Secret Service and you try and walk in front of him, then something's going to happen to you as well. I just think as a general rule, if people ask you to move and it's not a large inconvenience to you for 30 seconds of your life, it's just easier on you to do so. But I guess a lot of people really don't like their rights to be wherever they want to be at any given moment of time. Infringed upon. And yet we all understand traffic, we all understand traffic lights and not standing in the middle of the road for hours at a time because it's our right to be there. We understand standing a safe difference away from the train or subway platform so we don't get hit by oncoming public transport vehicles. We understand booking theater tickets and sitting in the designated seats that you have booked, not wandering onto the stage because you get to be anywhere you want these days. Like I get. They don't own Schubert Alley, but presumably they have been in conversation with the city. Presumably they have public liability insurance. Presumably they have permits to do so. People have also been dramatically upset by the idea that they are crossing the road, that they are disrupting the flow of traffic. It takes them all of a couple of seconds and they have not yet encountered any problems with this whatsoever. But it's worth saying problems may happen because this is previews and they are testing out something in a new place and they are trying something creative and innovative. What I really don't have time for, I mean, what I super don't have time for is content creators on social media. And they know who they are and they're, they're friends of mine, but I'm saying it on here because I would say it to their face. What I don't appreciate is them inciting people to go and stand in the way, even as a joke, because they might be able to sue Android Webber and make a lot of money. Like, I just don't understand the mean spirited approach to this show, to them trying to do something that's cool and innovative and creative and fun and a really exciting part of the show. Why do people hate fun? Why do we not want this to succeed? Why are we already posting on socials going, oh, I knew this, you know what, I knew this would fail. I don't live in New York and I've not been there in some time, but I personally knew this was never going to work when they said they were going to Broadway because New York is crazy compared to London. Like I haven't spent hours of my life trying to push through horrible London crowds in Leicester Square or on Oxford Street. Are you kidding me? Oxford Street, New York and London both have their pressure points and people can be incredibly obnoxious. Wildly obnoxious. And sure, the most stressful times may be ahead for Sunset Boulevard when the holiday crowds come in, when the snow gets super blizzardy. This is something they can review at the time. I don't believe the roof is a contingency option because the roof is currently being refurbished. Maybe this is a long term solution. Maybe they are thinking about the snow and the roof is being refurbished as a contingency option. I don't know. I'm sure they have backups and considerations, but I think we should be rooting for this to succeed because. Because do we not want them to succeed? Why are we rooting against this? Why do we not want innovation and creativity in the theatre? Why are we not about problem solving? That's what the theatre is. I see so many opinions of people being like, ugh, bored of the same old tired things. We want new, we want exciting, we want different. That's what this is. This is like boundary pushing and it's just a really exciting piece of theatrical storytelling, I think. And it doesn't mean all theater is going to happen with cameras and screens and outside the now on. But I still think that this production offers a really thrilling hybrid of those two ideas. And I'm sorry, I do just think that rooting for this to fail is an inherently boring thing to do. Now, I haven't yet seen this for myself in person. I feel as though they could send so I don't know to what extent they send someone out beforehand to warn people to give them more notice if someone is coming past in a wheelchair, someone who moves a little bit more slowly, who needs a little bit more notice and more time to move out of the way. Like I said, they did use a barricade system in London. I know there are a couple of barricades placed around the route in New York. It does just seem to be this Shubert Alley component of it where they had a little bit of an issue on one occasion. But I'm also seeing loads of comments that are saying every time I see this, someone's getting like thrown to the ground by security. I have yet to see a single video of anyone being thrown to the ground. If I've somehow missed this, please link me, send me, email me videos of people being thrown to the ground by Sunset Boulevard security staff because I'm not convinced that that's happening. What is happening is what I had predicted for this show. What I hope for this show is that it is beginning to become just as buzzy in New York as it was in London. It is gonna be that show that people are talking about. Yes, I'm really excited for Gypsy. Yes, we're excited for the new stuff to come in. Yes, Romeo and Juliet is blowing up huge online as well. But Sunset Boulevard, this is going to be the show everyone is talking about. Like, have you seen the Sunset Boulevard? I promise you, she is that girl this season. Whether it's Nicole Scherzinger coming out of the stage door covered in blood to sign autographs, whether it's this live camera relay moment at the top of the second act, or whether it's just the impact of the show in the theater and the audience coming out and telling everyone that they need to go and see it, it is divisive. And I have seen a couple of people sharing that they did not love the show after it in person. But for the most part, most of the naysayers that I'm seeing have not seen the damn show yet. And this is the other thing that boils my blood because I don't think you can criticize a show to the extent I'm seeing some people criticizing it and rooting for its demise. If you haven't seen it yet, you owe it to yourself to go and see this first, to fully understand it in its full, intended theatrical context, and then complain about it if you want to. Anyway, I think that is all I have to say about this particular Sunset Boulevard chapter. The Cars recording is coming out soon. I plan to do a reaction here on my channel, but I'm also flying to New York, where I am desperately hoping that I will be able to see it again, and I'm very excited for that. The reviews will be coming out before I get to New York. Maybe we'll do a roundup of those. I am hopeful that, unlike with the Cabaret transfer, it's going to be received very well by the New York press. But what do you think? Let me know your thoughts on that, as well as everything else I have said in this video. If you wildly disagree with me, if you think it's irresponsible that they're doing this on the street, if you think they're going to get sued and they're going to injure someone and Tom Francis isn't safe doing this, whatever, let's. You can say that in the comments if you feel like that. I welcome your opinion. Let's just keep it respectful among yourselves and among each other at the same time. In the meantime, I hope that you have enjoyed this video. I promise in the next one I will have more substantial things to talk about. I don't think we need to keep riffing on this topic, but I hope at the very least, you have been entertained and I hope that everyone is staying safe and that you have a staging. Happy day. For 10 more seconds, I'm Mickey Jo Theatre. Oh my God. Hey, thanks for watching. Have a stagey day. Subscribe.