I've always been happy that musicals can have a chance to be heard by paying audiences at various festivals. Therefore I was thrilled in 2004 when the first New York Musical Theater Festival (NYMF) got off the ground.
Like many young men who were starting to embrace their homosexuality, I derived intense pleasure from one of the pictures near the back of the book in which an aging Belle Poitrine (Jeri Archer) looks up at the packed crotch of some faceless stud clad in a Speedo.
If the past six months proved anything about the battle between the sexes, it was that many men have absolutely no idea how women think or feel. And although show business is often cited as an indicator of cultural progress, sometimes it sends mixed messages.
In her mid-80s, Barbara Carroll's still doing what she does best and what few others even begin to do as well as. Nowadays she does it more regularly at the Oak Room, where management is wise enough to turn the paneled room over to her every Sunday brunch.
I was intrigued by Symmetry Theatre's claim that fewer good roles are written for women, I found myself wondering if people might not be aware of the variety of plays that do indeed have meaty roles for female characters.