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Daniel Thomas, 42nd Street Moon’s co-executive director, is excited to introduce the San Francisco theater company’s new five-show subscription service.
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Thomas, alongside the rest of 42nd Street Moon’s staff, is working to find novel ways to continue interacting with audiences and artists via social media.
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Interwoven with hilarity at every point, the production thrives on comedic absurdity, keeping audiences amused even as the show’s complex plot becomes muddled.
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It is hard to critique the cultural insensitivity of the story without tracing it back to its original source, since most of the structural elements come from Gilbert and Sullivan.
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Portrayals of serious feelings not overlaid by light jokes are quite rare within the show, which makes Gaffney’s pitfalls in life less emotionally impactful.
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In essence, the relationship is muddled and ambiguous in a manner that doesn’t provoke audiences toward extensive thought.
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“Fiorello!” is based on a book by Jerome Weidman and George Abbott by the same name. The plot follows the life of La Guardia (Colin Thomson) life during World War I and ten years later. Throughout his prolific career, he battled the Tammany Hall political machine, became a congressman and best of all, fell in love.
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“Dames at Sea,” a production of San Francisco theater company 42nd Street Moon, tries to subvert this overworked genre through cliche 1930s costumes, kitschy acting and saccharine dialogue.
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When going to a 1970s musical about a “whorehouse” in Texas, one expects big hair, cowboy boots and slightly regressive attitudes toward lesbians. What one might not expect is a well-aged and upsettingly timely musical that seems to be in direct conversation with the headlines of today.
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“Saturday Night” revolves around a group of bachelor friends who struggle to entertain themselves on weekend nights in their Brooklyn neighborhood.
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