LoLoAloha

I don't understand why we haven't had the simple measure of having stores charge customers for each bag--perhaps a dime apiece, or a quarter, or somewhere in between. Way back in the 1970s and '80s, this was a frequent practice in many stores in West Germany (quite likely in other places too, but this is the only one I know for certain); at the time, I believe, the price of oil had gone up quite a bit, so the cost to manufacture these bags had also risen. The price was not enough to be much of a burden, but was enough to spur lots of re-use, and use of sturdy cloth or string bags. Many old folks had never lost the habit of using permanent bags, from when they were the only option, before stores started providing plastic and paper ones.

In any case, it's easy enough to obtain sturdy cloth or string shopping bags (the latter being quite compact when not in use, and easy to stash in a purse or glove compartment) and get in the habit of using them. Plenty of us have been doing this for quite awhile, and it's not rocket science. Here's a couple of amazon pages with some for sale:

http://www.amazon.com/EuroSac-Natural...

http://www.amazon.com/Short-Handle-Or...

Y'all come on out to this--I'm performing in one of these, and it's going to be really good! I think, however, that there are only three short plays being done. SOMETHING'S AFOOT is going to be really funny and good too, so come see it on one of the three Fridays, and stay for the after-show.

I might even give this place a try, especially if there are some good specials, but I mostly only go to SMG (75 and Royal) for free screenings. I feel like, if something is worth the time and money to see, I want to see it properly. Besides the issue of server disturbance (even when they're good at keeping that to as much of a minimum as they can), the sound and visual quality is often not up to snuff, with sound bleeding through from louder movies in the next screening room. Admittedly, these matters probably vary, depending on the screening room one's in (I've had somewhat better experiences in a larger hall there, but bad in a smaller one). So, for free, I'll go, but would still prefer to be at the Angelika, Magnolia, or a 'normal' cinema.

@theprincess180:

Did you and hubby inform the manager about that incident? It sounds awful, but it doesn't seem fair to blame it on the venue; I've seen drunken, aggressive fools in some fairly swanky places, in what would be considered 'good neighborhoods.' Even now, after the fact, I'd go ahead and speak to management if you haven't already. Even if you're determined never to return, and wouldn't be swayed by any conciliatory offers, it's only right to let them know about such problems. Best, of course, to have done so immediately, so that this boor could be dealt with and ejected (possibly arrested?), and identified, so as to keep him out in future.

Perry's talking about them defying "the will of Texas voters and taxpayers"?! I'm a Texas voter and taxpayer, and I sure as heck don't want Perry's ideas and plans to prevail in this instance (or in most instances, but that's another matter). This mess is bad enough, and now we've got Ted Cruz and his notions representing us in the U.S. Senate, along with John Cornyn. Oy. Amidst all that, I feel like nobody is representing my will or wishes.

This show has one of my favorite scores, and I've never gotten to see or perform in a production. I'm so looking forward to seeing this, especially given some of the performances I've seen from some of the cast members. Cameron McElyea is one of my favorite local actors, and I'm glad to hear he hasn't left us for one of the coasts or Chicago, as so many talented actors have done before (though I'd also be happy for him to achieve success in those markets--mixed feelings). Anyway, he seems like perfect casting for this role. Nicely detailed review, though I'd also like to hear a bit about the lighting, and to know what instruments are used in the orchestral ensemble. Did they have a violinist for the Hungarian-souled moments like in that pre-Act 1, not-exactly-an-overture? Hope so. Also, was that actually a piano, or and electric keyboard? And, if the latter, did they manage a sound and balance to keep the music real sounding, or did it turn into synthy music hell?

Really looking forward to seeing this production!

"Fewer Dallas screentime?" Come on, now, you can do better.

As for those Disgusted Moms, they should be smarter; this show is clearly making fun of hypocritical, nasty folk, and their misuse and twisting of Christianity (which can be, let's face it, pretty twisty to begin with). The show is not positing that all Christians are nasty, mean girls, but that certain of the characters definitely, and entertainingly, are.

I believe that Artisan (as they often do, I'm told) has many roles double cast, so someone going to the show may well be seeing different performers in some of the roles. I think this should be mentioned in the review; better yet would be if both casts could be reviewed, though I know that's probably difficult. Can't wait to see this show!

I think this listing is incorrect, as the show's run ended on Sunday, unless something changed that (which would please me greatly). Can y'all check on this? Pretty frustrating, if someone drives out to the theater only to find the play's not happening.

Oops--meant to ask how MANY names, etc....

How names has this thing had since first opening? Seems like hundreds, but how many really? Only been there once, long ago.

Questions about the production:

Question 1: Did the first act end with Eliza, Higgins and Pickering leaving for the ball? The original production ended act one with the scene AT the ball, but the most recent Broadway revival, in 1993, ended the act with the departure to go to the ball, and began act two with the Embassy Waltz and the whole scene at the ball. Not positive, but I think this is what they did in the movie. The Dallas Summer Musicals production in 2002 (magnificent!) also began act two with the ball scene. I much prefer this configuration, especially given the length of the first act, which is already much longer than the second, even without the ball scene.

Question 2: Did they include the ball scene? Apparently it is allowed (and surely easier, financially--that's a lot of ball gowns and tuxes!) to simply delete the whole scene at the ball, allowing the lyrics of "You Did It" to fill the audience in on what happened there. I hate this practice, which Garland Summer Musicals did with their mostly laudable MFL this summer. Hope Lyric is doing the whole show.

Looking forward to seeing this production.

Isn't this the theater that the Dallas Summer Musicals company was supposed to be renovating to use as a live venue? If so, is that whole idea kaput, and this will be dedicated exclusively to screened stuff? In any case it sounds nice, especially if we can get some real rarities shown.

I still miss the old Granada, with its double features and the excitement of when the new schedules would be released. That and the old cinema on Maple (don't remember the name of it). I even remember the old Esquire (I think that was the name) on Oak Lawn, and seeing at least one live production of a musical there. The old cinema in Snider Plaza also was converted to live theater and had some really good stuff there for some years; I think it alternated between live and screened entertainment for awhile. It's a shame when good theaters and cinemas stop being used for their proper purposes, and even worse when they get torn down, like all the old theaters/cinemas along Elm Street (of which I'm too young to have any but the most hazy memories of the last one to go). Hard to believe now that the beautiful Majestic was slated to be torn down, and came so close to it--the filming of THE PHANTOM OF THE PARADISE was supposed to be its last use before the wrecking ball. Thank goodness for passionate, hard-working folks to fight for the few bits of history, interest or beauty in buildings and places still left in Dallas.

This is great! Ron Bohmer is one of my favorite actors, such a great singer, and a really nice guy (judging from a fan's limited experience). By rights, he should be much better known and celebrated, though he seems to have a strong, vital career that many professional actors would envy as it is, as well as a strong cadre of devoted fans. Hooray for the Columns, for bringing him here.

This sounds great! I hope the academy (including its Dallas location) becomes as effective and respected (or more so) as the Stevenson Academy in Houston. Despite the difficulties the company's been having, and the temporary lack of live orchestra accompaniment, the TBT has been doing some wonderful stuff, and is usually a joy to watch.

Well, this household's televisions were tuned to SO YOU THINK YOU CAN DANCE, as they are just about any time that show is on. What I'm interested to know is when we'll get some real news stories about the misleading comments (or really lies) about the winner, Russell Ferguson's dance training background (which was represented on the show as nonexistent, but turns out to have been fairly extensive, at the Boston Arts Academy). No, it's not on par with the notorious game show rigging of the 1950s, but worth addressing I think, given how the story of the 'never formally trained street dancer, who miraculously manages to pick up all this challenging dance' was so aggressively sold to the audience. He's damn good, anyway, and a worthy winner, but I'm surprised no news organization seems to have addressed this issue.

Wow! Singing tattoos! Truly, I love our Mr. G., and appreciate his going into so much detail (especially given the excuse for a review that was run by the Morning News--what was that?! Three days after the opening, and they couldn't come up with more than that? It embarrasses me, to think what cast members of tours like this must think of Dallas' attitude to theater and such).

I found this a nice, solid production, but not up to the rapturous reports from the New York company (though, to be fair, the intimacy of that theater compared to the cold largeness of the Winspear is a big difference). Couldn't help but feel melancholy, realizing I was probably sitting right about where I sat for the inexpressibly magnificent and moving Dallas Theater Center production in 1999. It lives in my heart, and in those of others I meet, who, like me, still wonder at the memory of it. That should absolutely have been brought to New York right then. (The prevailing wisdom at that time was that poor ol' South Pacific could never be revived on Broadway--not without a major re-write of the whole show. At least Sher, et al.'s production stopped that refrain.) Anyway, this company is well worth seeing, and I applaud them all.

I agree--this was a beautiful, richly emotional night of theater. The four central men were all charming, vibrant actors, and HANDSOME--oh, and they sounded marvelous. It was especially nice to see Weston Hurt as Schaunard; he was unforgettable at the Dallas Opera Guild vocal competition in 2005, winning both the audience choice award and the top prize, with his warmly inviting confidence.

Valentine Fracas looked and sounded gorgeous, and acted well (there weren't any examples in the production, of the old fashioned stereotype of bad 'operatic acting,' which, though far less common than used to be, is still not extinct). Maria Kanyova looked suitably frail--or at least hungry--as Mimi, and sounded fine, though I missed a more soaring, full tone.

The orchestra and choruses (adult and children) sounded wonderful, and Pietro Rizzo kept the joyful chaos of act two properly crazy yet coherent. Benoit and the briefly featured soloists in acts two and three were good as well. This Bohème, while not reaching the transcendent thrill of last fall's "Marriage of Figaro," was strong and stirring.

One of the things about Dallas that make me glad to live here. Bill's Hideaway at night: Great live music, friendly people, reasonable drink prices, never a cover charge (but be good and feed the tip jar on the baby grand), lovely garden patio out back. Denise Lee, Buddy Shanahan (great jazz pianist, along with being able to handle just about any genre), Liz Mikel, Anton Shaw, Amy Stevenson, Mark Mullino, Gary Floyd, Peggy Honea and others (still sadly missing William Blake, who's hopefully knocking folks dead up in New York City)--these are fantastic performers!

Fridays with Denise, and Sunday open mic (especially when hosted by Liz or Denise) are fab, especially when cast members of one of the tours at Fair Park Music Hall drop by, or the Turtle Creek Chorale has a concert and members drop in afterward. Folks drive hundreds of miles to come to Bill's, or arrange flight layovers on the way from coast to coast, and I doubt they'll ever kick out drag queens or trannies. Any city would be lucky to have this place, and we've got it, so thanks, Bill's folks!

SMU is, of course, not the fitting place for the George W. Bush presidential library, and especially not for whatever that policy/think tank institutional mess they're planning is.

It's a shame about this ranking, and not really warranted for the institution of SMU, nor for most of the faculty and administration, in my experience. I just hope the Princeton Review makes it very clear that this is referring to attitudes of some (certainly not all, or probably even most) students, and not to the university's policies. It's certainly true that there are plenty of prickola, obnoxious people to be found in the SMU student body (especially if you go looking in places like the Greek system--yes, I know that's a prejudice on my part, and I try to not make assumptions based on frat/sorority involvement, but that involvement does seem to often be a marker for glbtq-haters). But there was much support and affirmation for queer issues and events from the actual institution when I was around there.