Middle ground doesn't exist when it comes to Bob Dylan shows. The response is either, "I can't believe I walked six blocks in the rain for this," or "I have printed set lists from every show he's played in the past five years! Do you want to see them?" I overheard both of those snippets within seconds of standing among the rain-besotted crowd in the Peabody's lobby.
Widespread Panic has an uncommon style of set creation show by show, touring extensively but never repeating a set, which was likely much more difficult before they had produced more than 11 studio albums worth of original music across over a quarter of a century.
Rigby brings home the gold! Once or twice in your lifetime, if you’re lucky, you may be blessed to see a performance that is iconic—that is simply perfect in every way.
It's kind of amazing that although I owned the Original Broadway cast recording of "A Chorus Line" as soon as it came out (when I was 15), am well acquainted with the script and the story (by James Kirkwood and Joe Dante), and know each number of the score (by Marvin Hamlisch and Edward Kleban) inside and out, I had somehow never managed to see a live production of it.
It's a cliché. Follow your dreams. If you are Alex Owens (Emily Padgett), you will realize your dreams after overcoming pernicious self-doubt and other obstacles. It's better to leap and fall than to never leap at all. Padgett nails the lead with verve. Her dance and vocal skills are excellent. Her acting chops get little workout because the book is clumsy and flimsy .
In August 2009 and June 2010 I thought I was going to see Silversun Pickups. They were on the bill for festivals I was going to, I had circled them on my schedule as a set to see, and then, for some reason, both times I opted for other options.