#that was just too funny moral of the story is look at the album preview if u actually want to know what's inside the album unlike me LOL

[littlecafe]

ohh for sure pledis is still a trash company but even they decided to do bus routes and ads for their 10th year. i really do hope that something does come out of this and more information is revealed, esp if kfans are starting to say stuff now. it just pains me that it might not change anything, unless maybe they speak up themselves.

have you seen the state of the albums fans are getting too?? theyre getting ones that are missing cds or photocards, and there have been many with ripped pages in the middle (which happen to all be aron's pages) its clear this is probably due to the lack of quality control during manufacturing, especially if this album is as rushed as it seems. they most likely skipped a whole part of product checking to get them out faster.

ahh i didnt even think about that ;;; i hope theyre able to find a good contract because thats the least they deserve. i find it so difficult to wish them well and hope for their future because OF COURSE im going to support them, but the feeling of injustice just overshadows it and it just hurts. yea i think their staff team got dissolved, their performance director posted a goodbye to the practice rooms. its so sad that a whole team of people lost their job too

yup lmao like even pledis had stuff planned so that's why i can't blame them as much for all the terrible stuff going down because seems like their staff (the ones working on nu'est stuff ofc) was also caught up in this mess and didn't know what was happening either

with kfans making more noise about it now i really hope we get some answers but i won't get my hopes up for it since it's scary for anyone closely involved to speak out against a big corporation like that and honestly, maybe they don't even know why this happened either but at this point i'd be happy to accept a "i didn't expect this to be the last album" or anything along those lines just for closure that we were not just crazily assuming things this whole time (even though i think it's pretty much a fact now with that album behinds video though it wasn't a straight forward statement from anyone)

what??? noooo i had no idea that albums were arriving damaged?!!! everything about this album is so low quality, poorly managed, and rushed from the design portion to now even the manufacturing causing damaged and defected albums? they really did not pay attention at all omg

also a minor thing but i'm very peeved that the cd itself for this album is in a paper envelope...it looks so thin on video but since i don't have it on me i don't know if it is actually easily torn paper quality or not but like are you poor or something???? it's a hard cover book style album which usually wouldn't come with separate cd like that because there is always a place for the cd to be held, even worse because this entire album has zero design so the envelope is just plain white with the same 1234567890 logo that they've slapped on literally everything

the quality is severely lacking...while looking for the torn albums i see a lot of fans complaining about how much empty space the photobook has like blank pages or just really tiny pictures for no reason with the rest of the page just being white??? like i understand you're (whoever worked on this album) trying to pass this on as "minimalism" but absolutely no aesthetic eye, my sis filmed her unboxing it for me and she pointed it out right away bc it just looked so bad and done with no intention

and also my judgement might be skewed here since i've mainly only bought day6 albums which relatively cheap for some reason lol but this nu'est album seemed to be on the more expensive side of the price scale right? the effort is not justifying that price

letting someone go without prior notice is really shitty and on top of that they did this to them while kinda letting them believe that nu'est would continue so the members probably weren't thinking to look into other companies or contracts at all...absolutely no protection or care for their artists whatsoever

yes me too!! i really hope they manage to negotiate good contracts and we get to hear from the ones that left soon, whether it's a signing with another company or just their plans about what they're going to pursue or if they're just going to rest a while, just anything! it's also getting closer to their enlistment time which really spooks me because it's really hard to get over that 2 year hurdle without a group with a sturdy fanbase or a good company to come back to, they have a very short amount of time to cement themselves and their brand as a soloist before that time which is hard

of course i will also support all the members in whatever endeavors they choose to go on, but going from group to solo is a hard transition (speaking solely if they stay in music as a singer) and i know many loves will also continue to support all members but with almost every boy group to soloist transition, the numbers do not lie and they tend to fall off for solo activities (everyone has their own biases and also not everyone will have the monetary means to physically support like that so it's normal for this to happen...), but it's so much worse if it was a decision forced onto you rather than one you've made yourself so i worry for them right now...the way this was handled is really unfair, they seriously gave them no time at all ugh

that's so terrible :((( dismissing their whole team too...instead of getting better, this situation truly just gets worse and worse the more you hear about it, i truly feel for the staff who work hard by nu'est side...none of them deserved this, everyone involved in this mess is so unfortunate and i wish them all the best going forward

sometimes i'm not even sure if i'm making any sense in these answers to you, like this hurts my heart and my head like if this was something the members wanted it would be sad but easier to accept but it ended like this

[newyorktheater]

It was a good week to test your view of New York — the 1990s Bohemia  presented in Rent Live on Fox (which was largely Rent Recorded), or the grittier view expressed by the city’s teenagers in “Generation NYZ,” part of Ping Chong’s Undesirable Elements series at LaMaMa?  How about by the African-American playwrights of the Fire this Time Festival? The truth is, in some ways, all of these share the sardonic and romantic view of the city by Rodgers and Hart in the 1920s, as presented by Santino Fontana as part of the Lyrics and Lyricists series at the 92nd Street Y? (It’s very fancy on old Delancey Street, you know/The subway charms us so.)

  Week in New York Theater Reviews and Previews

Generation NYZ

To the seven young performers who tell the stories of their lives in “Generation NYZ,” New York means subways and pizza and opportunity, but also cops and catcalling and homelessness.

They are all New Yorkers, but — as they recount for us over the course of 70 increasingly engaging minutes — either they or their parents or grandparents came from somewhere else. They tell, in other words, the story of New York, and of America.

.@BrandonVDixon, national treasure.#RentLive pic.twitter.com/RFzZ8ROjeq

— New York Theater (@NewYorkTheater) January 28, 2019

Rent Live

I had worried that, in Rent Live,  Fox television would ruin Jonathan Larson’s musical about bohemian life in the East Village of the 1980s by bowdlerizing it. I felt it worth watching anyway because its cast of celebrated young screen stars and recording artists would make the most of the catchy tunes.

As it turns out, it wasn’t the redacted content but rather a bad break and a series of poor choices that made “Rent” disappointing. And though the cast was clearly full of talent, only a few standouts brought it home in any memorable way. Brandon Victor Dixon, the one performer with the most live theater experience, floored us as Tom Collins,

We’ll Have Manhattan: Rodgers and Hart in New York

When at the age of 17 composer Richard Rodgers met 24-year-old lyricist Lorenz Hart in 1919, he instantly acquired “a career, a partner, a best friend and a source of permanent irritation.”

So Rodgers wrote, in one of the many tidbits Santino Fontana tells us in “We’ll Have Manhattan: Rodgers and Hart in New York,” Fontana’s celebration, as part of the 92ndStreet Y’s Lyrics & Lyricists series, of the hundredth anniversary of Rodgers and Hart’s partnership

    God Said This

Leah Nanako Winkler was sitting on the couch in her mother’s hospital room in Kentucky while her mother was undergoing chemotherapy for a form of cancer called carcinosarcoma, when the playwright started writing what became God Said This. “It just came out.”

The play, now on stage at the Cherry Lane Theater through February 15, revolves around Masako, a Japanese-born mother who is undergoing chemotherapy for carcinosarcoma, and explores the effect of her illness on her family.

The Fire This Time Festival

Over the past decade, the annual festival, created to showcase early-career playwrights of African and African-American descent, has presented some of the first New York plays of such now-celebrated writers as Katori Hall (known for such later works as The Mountaintop and Our Lady of Kibeho), Dominique Morisseau (Pipeline, Skeleton Crew  and the book for the forthcoming Broadway musical “Ain’t Too Proud”), and Jocelyn Bioh (School Girls or the African Mean Girls Play) .

This year’s offerings are not particularly political, although they do touch (often obliquely) on issues as varied as gentrification, immigration, protest, feminism, homophobia, and affirmative action.

Ruthie Ann Miles as Immigration Judge Craig Zerbe

The Courtroom

Elizabeth Keathley moved to the United State from the Philippines, married an American, and three years later registered to vote, even though she was not yet a citizen. As a result, the government ordered her deported.

“The Courtroom���is a re-enactment by Waterwell theater company of her deportation proceedings,  using the transcript as edited by Arian Moayed, directed by Waterwell’s artistic director Lee Sunday Evans, with Ruthie Ann Miles as Immigration Judge Craig Zerbe, and Kathleen Chalfant as Chief Judge Frank H. Easterbrook for the U.S. Court of Appeals for the Seventh Circuit. The play is being presented for free through February 1 in a series of court-like settings

Red State Blue State

Near the end of Colin Quinn’s stand-up comedy, which promises to “lay bare the absurdities…on both sides of the political divide,” the Saturday Night Live alumnus manages to insult every single state of the union…It’s a baffling routine, almost tedious and even tacky…emblematic of Quinn’s enterprise….hit or miss and a missed opportunity.

Week in New York Theater News

Alanis Morissette

Anais Mitchell

Melissa Etheridge

Michael Jackson

“Jagged Little Pill” is coming to Broadway. The musical by Alanis Morissette @based on her 1995 album, put together after she was robbed at gunpoint. will open sometime in Fall, 2019, directed by Diane Paulus, who directed it for the American Repertory Theater last year.  Cast, dates and specific theater to be determined.

  When it opens on Broadway April 17, @Hadestown will feature the same cast that just appeared in London’s @NationalTheatre: left to r: @pagepatrick, #AmberGray, @Andre_DeShields, @EvaNoblezada @reevecarney pic.twitter.com/NgMmBsG3X4

— New York Theater (@NewYorkTheater) January 28, 2019

.@metheridge will provide the score to a musical based on the 1988 movie Mystic Pizza, the first time we noticed Julia Roberts! MT They are writing the script now and I am looking forward to getting to work on it pic.twitter.com/3xMQCAfJwa

— New York Theater (@NewYorkTheater) January 22, 2019

The Michael Jackson musical, @dontstoponbway (Don’t Stop ‘Til You Get Enough) premieres Oct 29 – Dec at the James M. Nederlander Theatre (@broadwaychicago) before a 2020 Broadway run. Book by @Lynnbrooklyn ! Music by the King of Pop pic.twitter.com/jShiAsLdnk

— New York Theater (@NewYorkTheater) January 23, 2019

.@AudraEqualityMc & Michael Shannon will star in a revival of Terrence McNally’s Frankie and Johnny in the Clare de Lune @fandjbway . Starts in May, 2019 for 16 weeks at a Shubert theater on Broadway. Details to come pic.twitter.com/2gHdflj3SG

— New York Theater (@NewYorkTheater) January 23, 2019

Thanks @USPS for this new postage stamp of Broadway’s own Gregory Hines, Tony winner for “Jelly’s Last Jam.” He died in 2003 of cancer at age 57 pic.twitter.com/nbFRnATWel

— New York Theater (@NewYorkTheater) January 28, 2019

Finalists for the 2019 Susan Smith Blackburn Prize, honoring women playwrights

Jackie Sibblies Drury

Ella Dickson

Lily Padilla

Martyna Majok

Nina Raine

Ella Road

Heidi Schreck

Lauren Yee

Hilary Bettis  (U.S.)- 72 miles to go…

Jackie Sibblies Drury (U.S.)- Fairview

debbie tucker green (U.K.)-  ear for eye

Ella Hickson (U.K.)- The Writer

Martyna Majok (U.S.)- Sanctuary City

Lily Padilla (U.S.)- How to Defend Yourself

Nina Raine  (U.K.)- Stories

Ella Road (U.K.)-The Phlebotomist

Heidi Schreck (U.S.)- What the Constitution Means to Me

Lauren Yee (U.S.)- Cambodian Rock Band

.@magicmikebway, a musical that’s touted as a prequel to the Magic Mike movies, Nov 30, 2019- Jan 5, 2020 @EmColonial in Boston prior to an expected Broadway run. Music by the Next to Normal team pic.twitter.com/JfC6gyXU3e

— New York Theater (@NewYorkTheater) January 24, 2019

the third annual WOW – Women of the World Festival. March 12-17@ApolloTheater “Performances, conversation, activism.”https://t.co/3x7F0eP5yM pic.twitter.com/1y10Y8S7I2

— New York Theater (@NewYorkTheater) January 24, 2019

House Seats, a series that’s part of @ThirteenWNET‘s forthcoming streaming service @AllArtsTV, will launch Feb 3 w/ screening of @TheaterofWar‘s #AntigoneinFerguson. I saw the play in a playground in Brownsville in 2017, & wrote about it for @HowlRound:https://t.co/iDapHiXSxP pic.twitter.com/fYEnCiOYCp

— New York Theater (@NewYorkTheater) January 24, 2019

Applications to compete in the 2019 @RogerReesAwards for Excellence in Student Performance are being accepted until Feb 4 at https://t.co/gAN1zmqZBa pic.twitter.com/t6dFM5X7gv

— New York Theater (@NewYorkTheater) January 24, 2019

What Should We Do About Scandalous Artists? Accusations of misconduct against beloved creators are changing the way we think about genius

today as in the past, one of the most visible ways that our culture negotiates changing ideas about morality is by thinking about art and artists. Is an artist’s work tainted by his personal wrongdoing? Should we give honor and respect to people who excel in their art but are deficient in what we consider ordinary morality? These questions have been at the heart of modern thinking about art since the 19th century; but since the advent of the #MeToo movement, they have begun to receive new kinds of answers.

if Oscar Wilde’s case were being tried today, he might once again be widely scorned—not because the prostitutes he patronized were male, but because they were young, poor and powerless. The hostile gossip that surrounded him at the time, English critic Kate Hext writes, “would be nothing compared to the long lenses and comments section of Daily Mail Online, or the verdicts of social media.”

REST IN PEACE

RIP Kaye Ballard, 93, Broadway veteran (The Golden Apple, Carnival, The Pirates of Penzance), familiar face on TV, funny lady. She was impersonating Maurice Chevalier at age 5)https://t.co/6cMmnOm1ji pic.twitter.com/yfSs5MZk1L

— New York Theater (@NewYorkTheater) January 22, 2019

RIP JoJo Smith, 80, Broadway veteran, dancer and choreographer. @msdebbieallen‘s teacher, #JohnTravolta‘s dance consultant on #saturdaynightfever pic.twitter.com/URzdmuj9D2

— New York Theater (@NewYorkTheater)

RIP JoJo Smith, 80, Broadway veteran, dancer and choreographer. @msdebbieallen‘s teacher, #JohnTravolta‘s dance consultant on #saturdaynightfever pic.twitter.com/URzdmuj9D2

— New York Theater (@NewYorkTheater) January 28, 2019

Rockers on Broadway: Alanis, Anaïs, Melissa and Michael Jackson. New York on Stage: Rent, Generation NYZ, Rodgers and Hart. #Stageworthy News of the Week It was a good week to test your view of New York -- the 1990s Bohemia  presented in Rent Live on Fox (which was largely Rent Recorded), or the grittier view expressed by the city's teenagers in "Generation NYZ," part of Ping Chong's Undesirable Elements series at LaMaMa?