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I appreciate and respect what Guettel was trying to do in “The Light in the Piazza,” for example, but if these are the writers that are going to carry Broadway in the future there are pitfalls ahead, and if it proves to be the case that Chenoweth can’t work with them it may not be entirely her problem.

I'm actually not a big fan of "The Light in the Piazza," although I think Guettel is a great talent. (And apparently we won't be hearing from Guettel anytime soon, since his new project "The Princess Bride" is now dead in the water. And unfortunately, one thing Guettel did not inherit from his grandfather is speed).

And I don't think that it's really a "problem" on the part of either Chenoweth or those writers. Some performers are just inherently more suited to certain styles than others, not unlike how some dancers are more suited to certain repertory than others. Audra MacDonald performs almost exclusively more recent work (she's actually the other performer I can remember a piece being written for recently, "Marie Christine"). Rebecca Luker is the princess of the Oscar Hammerstein soprano parts, and so on and so forth. Kelli O'Hara is one young performer trying to go back and forth, but unlike Chenoweth, I don't think her legit-trained voice is going to be suited to the Jazz Baby repertory that Chenoweth does so well.

Moreover, most young writers write with the idea that the work is the star, not any particular performer and for the most part that has been true for much of the last 50 years.

Interestingly, judging from her most recent projects, at the moment the areas Chenoweth seems most interested in exploring some of her operatic roots and country western music (we may see that Dolly Parton project yet!).

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It is a crime that Kristin was not nominated for a Tony.

She was divine in The Apple Tree. And kudos to the choreographer.

I was the only to laugh out loud when she did the 'same arm as leg thing' in Act III.

My friends went to see it again after I explained it to them.

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