It's entirely possible that the accent coach was there to produce exactly the cartoonish accent you heard- Lithgow may have mastered a realistic one, not a stage melodrama Eurotrash accent.

His performance in "Dirty Rotten Scoundrels" backs this up.

He wouldn't have been the perfect Joker, but if we are fantasy casting Lithgow as supervillains of that era, imagine what he could have done as psychotic, stage makeup loving FBI rogue agent Windom Earle on the final arc of the original Twin Peaks.

James Woods?

I believe she pronounces it Hurkaleez. When I music-directed Footloose, the girls in the cast always said it straight, as Hercules, but I told them audiences expect to hear the mangled pronunciation.

The amount of Amanda Show that was based on her own ideas and Schlick is certainly debatable, but the fact that the show's framing device is "Perfect Blue for kids, with a beloved tween star and her obsessive homoerotic stalker (played by the same girl)" is a lot harsher in hindsight.

A remastered version of that tour, and maybe even that show, is all out officially, but it's split in pieces. Eventually I'm guessing there will be a vinyl and digital complete release.

I still marvel that such a movie exists: Disney made an all-star, big budget German Expressionist gangster Sondheim musical.

The only time I've ever been asked to stop singing at a piano bar was when I did "All about Ruprecht" from the musical. The line about George W Bush being a birth defect got some nervous laughter, but the cheerful catalogue of Ruprecht's sexual deviances did not go over well.

There's already a musical version of the Babadook and it's "Next to Normal."

Wizarding World is probably the only major non-Disney park to observe the principle of Kayfabe: Universal proper is treated as just a theme park, while Wizarding World, like the Disney parks, is treated top to bottom as an immersive theatrical event, not just a place to go.

I've wanted a modern style "kid appeal, adult quality" Mario cartoon for years, after seeing Adventure Time's skewed take on the genre. I never realized until now how perfect of a Luigi Joe Lo Truglio would be.

Jason Robert Brown, Rupert Holmes, Lionel Bart and a few others do it too.

When I was getting started as a playwright, I liked to write dark, absurd gags into my shows, but the directors usually cut them. I realize now that the cutting was for the best.

Kitt was always an arranger first and foremost, and one of the best. As for Shaiman, of his five musicals, three (Hairspray, Catch Me if You Can and Bombshell) have been primarily made up of Sixties pastiche, so it's clearly his wheelhouse.

No, that's still going. He's a producer but isn't going to reprise his role in the show. Rumors have attached Shaiman and Wittman to the score, and a number of theatre-turned-television personalities as the Myers track of at least three roles.

Get like two or three people in fairly conventional prosthetics characters, then Paul Reubens or Martin Short playing something grotesque and macabre like their makeup creations from the Tina Fey sitcoms.

"What's the difference between peanut butter and jam?"

"That's the guy that I was telling you about."

Can we get Alan Cumming as Pretorius?