(Feingold’s article appeared on Theatermania, 11/28.)

This is part II of Michael Feingold's latest "Thinking About Theater" column.
Click here to read part I.

When I talk about classic theatrical turkeys, you naturally want to know about Moose Murders and Carrie, both of which have passed into Broadway legend — so much so that both have also been revived off-Broadway in the recent past. I witnessed both, first time around, and actually knew people involved with both. In fact, I had to recuse myself from reviewing Moose Murders — much to my relief — because I was attending its opening night as the date of one of the actresses involved. Hence I didn't rush, knowing what I would be in for, to catch its off-off-Broadway revival in 2013. (I noticed that its original star, Holland Taylor, who was in town at the time, playing her one-woman show Ann at Lincoln Center, also neither attended the revival nor commented on it.)

I did review the original Broadway production of Carrie — I occasionally pride myself on being the critic who described it as "the ultimate period musical" — and I also went to review its 2012 off-Broadway revisal, mainly to see if the authors' revisions could do anything to salvage the epically misguided mess that had given the show its you-won't-believe-this-is-happening stature on Broadway in 1988. I'm not sure what I was expecting, the second time around, but the flaccid results seemed sadly familiar.



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