"The Best Minds" is worthy of the hype; it's an astonishing story told by the *correct* storyteller. As the NYTimes observed, it's "pin-you-to-your-couch" storytelling. Michael is a bright and egotistical kid in New Rochelle. He is interviewed at the school paper's office; if he were offered the spot of managing editor, rather than editor-in-chief, would he accept? Despite the fact that the editor-in-chief will be his close friend, Michael throws a tantrum. This moment of poor judgment does not hurt in the long term; Michael is offered a spot at Yale. He lives in Silliman College and graduates in three years. Summa cum laude. Phi Beta Kappa. He goes off to work at Bain, which pays Yale graduates to spend long weekends memorizing all of the operational details that form the skeletons of various industries. (The Bain employees then offer their consulting services.) At this point in his life, Michael has started imagining that flames are licking the floor...
Yesterday, Adam Feldman wrote on Facebook that "there is an alternate, better timeline in which Heather Headley is the dominant Broadway musical star of the twenty-first century." No one could argue with this. After Headley's barnstorming performance in "Aida," Headley sort of disappeared. Her few appearances--in "Dreamgirls," "The Color Purple," "Into the Woods"--have become the stuff of legend. Headley has warned against the siren song of adulation. "If, when you're off the stage, you don't know who you are....you're in trouble." Headley spends most of her time in suburban Illinois. Anyone who saw Headley as Sondheim's Witch can imagine how fiercely the director must have fought *against* the Patina Miller scenario. I'm sure Miller was fine. Heather Headley was earth-shaking. The Witch is Sondheim's opportunity to revisit Madame Rose. Like Rose, the Witch is a weak leader. She is politically flaw...