It's delightful, it's delicious, it's dlevy!

I post about musicals a lot. Find me on Twitter: @itsdlevy.

I'm collecting all of my best writing from around the web and beyond at the untitled itsdlevy project.

You might also enjoy my other Tumblrs, Fuck Yeah Stephen Sondheim and Fuck Yeah Dorothy Fields.

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Cat Photo Friday!

Hey doesany1stillwearahat, mikerhone made that image (and submitted it to sondheimlolcats). If you’re not going to reblog it from its original posting, at least credit the source. 


Cat Photo Friday!

Hey doesany1stillwearahat, mikerhone made that image (and submitted it to sondheimlolcats). If you’re not going to reblog it from its original posting, at least credit the source. 

(via beyond-the-hills-of-tomorrow)


"Every Day A Little Death" - Leah Horowitz with Tamra Hayden
from Three Wishes for Sondheimas at 54 Below

Not a whole lot of commentary on this one except to say that it was the first song that came to mind for Leah when she said she’d do the show, and she does it perfectly. 

Early on, she asked if I had any direction for her to consider. It was so early that I wasn’t yet sure if this was going to be integrated into the pageant (I knew that Anne Egerman was going to figure into it)… So I said something to the effect of “whether it ends up part of a greater structure or just a standalone cabaret number, think of it as a conversation with yourself rather than giving advice to another character as it was in the original show.” That’s not a lot to go on, but watching Leah perform the number, I think she nails this approach. 

We weren’t sure if we were going to have a second singer do the echo parts, but Tamra was available and game and they sound beautiful together.

My razor lied to me about length setting and now you can see my stupid face.

Molly Pope singing “If He Walked Into My Life” and nothing else matters.


My drawings of tech rehearsals and first preview of Hedwig and the Angry inch have been posted by The New Yorker.

With two of Frank Loesser’s biggest hits returning in the form of simultaneous all-star concerts,  last week New York experienced a rare treat for Classic Broadway lovers and the ClaBro-curious alike. Wednesday – Sunday, Encores! gave us the quasi-operatic romance The Most Happy Fella with Laura Benanti, Cheyenne Jackson, Shuler Hensley, Heidi Blickenstaff, Jay Armstong Johnson and… yeah, basically everyone The Craptacular has ever written about. Then, on Thursday, Carnegie Hall exploded with the musical comedy excitement of Guys and Dolls, starring Nathan Lane in the role that made him famous, along with Patrick Wilson, Sierra Boggess, Megan Mullaly, John Treacy Egan, Len Cariou and Judy Kaye. READ MORE AT THE CRAPTACULAR

We’ve told people that avant-garde theater is not for everybody. We could do more of what the fashion industry does—they make avant-garde fashion something you want to see. You may not want to wear it, but you want to see it and experience it. So if theater could figure out a way to convince people that unconventional forms are exciting. “Oh you might get bored by this? That’s exciting!” The idea that the play or the performance is supposed to solve everything for you in the moment is insidious. No, it’s supposed to offer you a conversation—after. To me, performance is about inspiring people to do things. The time that you’re sitting in the theater is about giving you context for what you’re going to do after—it’s not the thing. I think that’s all theater artists really do.
Taylor Mac, in this interview in BOMB Magazine

Billy Porter: “Happy Days Are Here Again / Get Happy” from his new album, Billy’s Back on Broadway. (Duet with Cyndi Lauper)


The canon chronicling the American experience is vast and epic, a patchwork quilt of competing ideologies and vivid dreams as unique as the individuals who dream them.  Americans value dreamers above all others, for who else but a dreamer could have brought us the Brooklyn Bridge, the Hoover Dam, the Twinkie?  

Dreams are the motor that propels us from rock bottom to the tippy top of self-actualization.  

Dreams are what make America great.  Without dreams and slave labor and a refusal to pay taxes on slave labor, there would be no America.

Today, I started a journey with two such dreamers, in an effort to learn more about myself and where my own dreams rank within the zeitgeist.

Welcome… to Meth and the City.


Look, it’s pretty simple.  I’m the last breathing human in the Lower 48 to have seen neither Breaking Bad nor Sex and the City.  So I’m watching them both.  Simultaneously, as if they’re the same show.

You’re free to dismiss the idea as crazy, but:

Walter White spends a lot of the pilot of Breaking Bad in just underwear and an apron, and he ends it with a renewed interest in sex.

Carrie Bradshaw announces in the pilot of Sex and the City that she and the women of Manhattan are “giving up on love and throttling up on power.”  

I’m just saying.


Here’s how this is going to work.  There are 94 half-hour episodes of Sex and the City to Breaking Bad's 63 hour-ish episodes.  Sometimes the viewing will be 1:1, others 2:1 depending on season length.  I'm going to finish them both at the same time.  

As I go, I’m going to chronicle not so much the basic plots of the episodes so much as whatever happens to strike me about them, particularly any thematic synchronicity that occurs.  



Read More

48 plays
Colin Donnell,
Love's Labour's Lost

I miss this show and can’t wait for a proper cast recording. In the meantime…