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Post by Dr Tom on Jul 25, 2018 14:48:04 GMT
Currently in NYC for a few days (to be followed by Toronto) and seeing a variety of shows. Haven't been able to swing the budget to Mean Girls or Dear Evan Hansen, but otherwise seeing most of those I hoped to see.
Head Over Heels - Hudson Theatre
I attended one of the final previews (official opening is July 26).
This is a jukebox musical, with the greatest hits of the Go-Go's set to an oldie-English historical type book.
It was dreadful. Easily the worst show I've seen this year.
Perhaps it was because the only song I knew ("Heaven Is A Place On Earth") was ruined and turned into a bad comedy routine. But the other music wasn't the slightest bit memorable and didn't fit the show at all.
I can't place the Go-Go's at all, but based on the book, I presume they were an all lesbian and transgender girl group. The story is about love in a royal family in a kingdom powered by "the Beat". All helped along by cameos from Peppermint (star of RuPaul's drag race), who benefits from all kinds of sound sweetening.
Some of the crowd lapped up the fake English accents, all suddenly forgotten during the songs. But it is very much American humour.
Lots of ticket deals for this one. I got TodayTix rush, which was third row Circle (unlike the UK, they don't tell you where you're sitting until you have the ticket in your hand). Good view and there were spaces to move to other seats if you wanted to.
On the plus side, it was all over in a quick 2 hours 15 minutes.
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Post by Dr Tom on Jul 25, 2018 14:54:17 GMT
Hello, Dolly! - Shubert Theatre
Some more comments in the main thread here (http://www.theatreboard.co.uk/post/219898/thread).
What can I say? Masterful performances, spontaneous applause, mid-show standing ovation, Bette Midler stretching out her scenes so it ran way over the scheduled time.
I hadn't planned to see Bette, as I saw this last year and had already booked for Donna Murphy's version on Sunday. But shockingly there are plenty of ticket offers about if you search for them.
I got second row Stalls, slight restricted view so you missed one end of the stage, but up-close to all the action, perfect sound and you could see the staircase.
The book for this one is slight, but the spectacle makes up for it and you even get applause when the train heads across the stage. There really is an electric atmosphere.
Charlie Stemp really comes into his own in this one and I'm sure has more dance scenes than the person playing Cornelius last year. Uoi can tell the cast are having a great time, with both Charlie and David Hyde Pierce completing failing to hide grins and laughter on several occasions.
This is Broadway!
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Post by Dr Tom on Jul 25, 2018 23:21:29 GMT
My Fair Lady - Lincoln Center
Iconic show in an iconic venue. Where could you go wrong?
Well, some of the people neat me just didn't have the patience to sit for three hours. But there was air conditioning.
This one is difficult to get reasonably priced tickets for. I did something I very rarely do and resorted to StubHub. I paid slightly more than the price printed on the tickets, but less than the theatre direct rate. I also think that there are people buying up ticket at group rate and reselling them. I did end up very slightly better off than if I had gone through the theatre.
If I've held my nerve and waited I could have saved more. But this was one of those shows I really wanted to see.
I ended up in tenth row, outside Stalls, but a great view due to the extended stage and the stiff rake. Sound quality is never great in the Lincoln Center as everything comes across quiet.
As to the production, loved it. Some clever set design with a very intricate Henry Higgins' house. Harry Hadden-Paton was fabulous as Henry Higgins, a likeable cad. Lauren Ambrose was good as Eliza Doolittle and had the posh accent nailed, although her Cockney included a few elements of Brummie. Jordan Donica as Freddie had the perfect voice for On The Street Where You Live. And Diana Rigg had presence just by being there.
The biggest response for the afternoon came with the I'm Getting Married In The Morning Routine led by Norbert Leo Butz as Alfred Doolittle.
And I liked the way they worked in a modern and ambiguous ending to this.
Would play well if it comes to London.
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Post by Dr Tom on Jul 26, 2018 17:56:58 GMT
Beautiful - Stephen Sondheim Theatre
The first time I've ever seen this in the US, although I've seen the UK and Australian versions already this year.
It is much more impressive with the original staging and elaborate sets. The book is the same as the Australian version (the UK version is slightly different).
I was sat at the very back of the Mezzazine, but a good view with a decent rake no blocks. It's in a typical small Broadway theatre. A very good ticket deal through TodayTix as well.
They are stunt casting, so this is may not be long for the world. Carole King was played by Melissa Benoist, better known as TV's Supergirl. She was very good in her first Broadway role and is only on for a few weeks. Great voice, very likeable and accent close to the real thing.
Good performances, although Donnie was played much more camp than I've seen the role done before. The guy who played Gerry showed his decent into madness in a different way, lots of umms and repeated words, almost a stutter effect at times. Worked well.
Finally, kudos to the audience for this one for being incredibly well behaved, with none of the singing along and bad behaviour you get at jukebox musicals in the UK. And they loved the cheesy jokes, particularly the ones about New York and New Jersey.
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Post by harrietcraig on Jul 26, 2018 18:02:34 GMT
dr Tom, if you're still in New York and have an open slot, consider going down to the East Village to see Carmen Jones at the Classic Stage Company. It's a very bare-bones production, but Anika Noni Rose is giving a terrific performance in the title role, and the rest of the cast are no slouches in the singing department either.
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Post by 49thand8th on Jul 26, 2018 18:47:21 GMT
Beautiful - Stephen Sondheim Theatre
It is much more impressive with the original staging and elaborate sets. The book is the same as the Australian version (the UK version is slightly different).
Is it? I saw it in London in previews, having seen it pre-Broadway in San Francisco and on Broadway. I don't remember it having any changes — or at least fewer than I remember from Jersey Boys. I'd argue that Melissa Benoist is only semi-stunt casting; she did a lot of stage work before Supergirl. |
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Post by Dr Tom on Jul 26, 2018 21:39:07 GMT
Is it? I saw it in London in previews, having seen it pre-Broadway in San Francisco and on Broadway. I don't remember it having any changes — or at least fewer than I remember from Jersey Boys. I'd argue that Melissa Benoist is only semi-stunt casting; she did a lot of stage work before Supergirl. Well not huge differences. The main thing I picked up on is the opening monologue is different. Same setting, different words. So Carole doesn't mention being at Carnegie Hall.
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Post by Deleted on Jul 26, 2018 22:35:45 GMT
Star-casting (casting someone for their fame but who is clearly more than capable before going in) is not the same as stunt-casting (casting someone for their fame with no prior indication of whether they'll be any good or not). I am willing to die on this hill.
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Post by Dr Tom on Jul 28, 2018 17:04:10 GMT
On A Clear Day You Can See Forever - Irish Rep Theatre
Nice converted space with downstairs Stalls and a few raked rows upstairs in the Balcony. I was upstairs, but there are clear views everywhere.
I've never seen this Lerner and Lane show performed before. Reminder me a lot of My Fair Lady, with an older professional man taking advantage of a young woman. This was a revised version by Charlotte Moore, partly to make it work with a cast of 11.
Really enjoyed this, especially the title song, which is a classic and was reprised several times.
It's one of the psychedelic era of musicals. Three female friends see a hypnotism to try and clear them of their problems. The first eats too much. The second only dates gay guys and tries to turn them straight. The third can't get a job because she smokes. It is the third woman, Daisy Gamble, wonderfully played by Melissa Errico who instead regresses to her past life as an 18th century English woman, becoming also the unknowing subject of a medical experiment by Dr. Mark Bruckner, played by Stephen Bogardus.
The new book leaves the show slightly unbalanced, with the first half running 1 hour 10 minutes and the second half only 40 minutes. I think this would work better as a single act. But I know the theatre has to sell its interval drinks.
Being a "fringe" theatre, this attracted a slightly different audience to the main Broadway theatres, generally the more self-entitled type. Too many people chattering and exchanging comments during the show. But that's off-Broadway for you.
This version would work really well in one of the London fringe theatres. Recommended if you're in the area over the next few weeks.
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Post by Dr Tom on Jul 28, 2018 17:14:29 GMT
Spongebob Squarepants - Palace TheatreSaw this after the recommendation of another Theatreboard member, despite having never seen the TV show. It is a charming modern musical, which rather looks like it was written by committee and takes elements of the plots of about 20 other musicals and merges them together. Knowing anything about Spongebob is completely incidental. The characters look nothing like the TV versions and with name changes you'd have to idea the show was in any related to the TV version.
This is a nightmare theatre to get into, being right on Times Square and nowhere easy to wait or queue.
I had a good seat in the middle of the Mezzazine courtesy of TDF (this is closing soon and there are lots of tickets available). Looked pretty full. It's a large stage with things going on either side, so this is a prime place to sit.
This is really cheesy and aimed at adults, but done in a way without swearing and unlikely to cause offense. There were some children in but the younger ones were really struggling. It's two hours and thirty minutes with a lot going on and characters unlike the TV version (I was really expecting a kiss between two of the male characters at the end and they got as close as they could without lips quite touching). So there were parents continually going over the plot which got a bit annoying. Also a lot of fan girls in, but it's that type of show.
The music is by committee, so rather mixed styles. Some good, some bad, but you're bound to find bits you like.
Disappointed that Gavin Lee was off, but Squidward was played well by Alex Gibson, who was great but struggled a bit with tap dancing with four legs (as you do). The highlight was easily Ethan Slater as Spongebob, who was bubbly throughout.
Glad I took the risk and saw this one.
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Post by harrietcraig on Jul 28, 2018 18:03:03 GMT
On A Clear Day You Can See Forever - Irish Rep Theatre
Being a "fringe" theatre, this attracted a slightly different audience to the main Broadway theatres, generally the more self-entitled type. Too many people chattering and exchanging comments during the show. But that's off-Broadway for you.
Interesting comment, and 180 degrees removed from my experience. I see about 20-25 off-Broadway shows a year (and saw On a Clear Day a couple of weeks ago), plus a handful of Broadway shows, and in my experience off-Broadway audiences are better-behaved, more well-informed about what they're seeing, and less "self-entitled" than Broadway audiences (the latter of whom are more likely to feel a sense of entitlement because they've paid so much for their tickets). I'm not saying you didn't have the experience you describe at the performance you saw, but I'm not sure it holds up as a generalization. |
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Post by Dr Tom on Jul 28, 2018 22:33:46 GMT
Im not saying you didn't have the experience you describe at the performance you saw, but I'm not sure it holds up as a generalization. You’re quite right of course, all depends on the audience on the night. And also, being upstairs, I noticed the people making everyone move so they could go take phone calls and the like. I suspect I also have higher expectations for theatres which fewer people know about and which people have to make more of an effort to attend and support. |
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Post by Dr Tom on Jul 28, 2018 23:11:25 GMT
(15 Years Of) Avenue Q - New World Stages
This is one of those shows I nearly always see, even though the cast rarely changes. Strange today to realise Jersey Boys is now situated in the theatre next door.
This is coming to the end of two weeks of special shows to celebrate the 15th anniversary of the show. Each show has special guests advertised.
It also meant that there were very few ticket offers available. I did save a few dollars with TodayTix and ended up in a great third row seat, but nowhere near as much as usual. The theatre seemed pretty full for a Saturday matinee.
The birthday deal meant that all tickets came with a free drink (beer, wine or soft drink).
Today's special guests were three of the original cast John Tartaglia, Rick Lyon and Jennifer Barnhart. They replaced the current cast to sing If You Were Gay and did a great job and got a massive round of applause. Of course Jennifer Barnhart has been with the show, off and on, for much of its 15 years and Rick Lyon created the original puppets and remains involved with their replacements.
A very appreciative audience who were on their feet for a standing ovation almost before the show finished.
After the show there was an unadvertised talkback, with the three guest stars, joined also by original cast member Stephanie D'Abruzzo (plus some of the current cast who weren't desperate for a break - although they barely spoke). Really interesting discussion regarding the origins of the show, cut scenes and songs, the death of Gary Coleman, the cast recording and more. Hadn't realised the set is the original one from Broadway which was transported to New World Stages. Also said that the show had lost some of its relevance during the Obama years but was topical again now. The guests were very receptive to answering questions, which was great.
Very much hope this will still be running for the 20th Anniversary specials. I'll set a reminder in my calendar for July 2023.
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Post by Dr Tom on Jul 29, 2018 16:31:17 GMT
Gettin' The Band Back Together - Belasco Theatre
A great fun show!
I took a risk on this in previews, worried that I'd wasted a show slot. On paper, this sounds like a bad Jack Black movie.
In practice, it's hilarious. It's designed for the audience who found American Pie funny 20 years ago and are now that bit older, but still like the same kind of humour (although mostly tasteful).
Nice small theatre. Before the show, the producer came on stage to talk about the show's genesis, apparently based around actor improvisation. He also identified some audience members who would turn out to be "volunteered" to have roles in the show later.
The plot is deliberately predictable. 40 year old former stockbroker returns to his old town, reunites with old and new friends and ends up in the Battle Of The Bands. To say much more would be spoilers.
The music is really good, mostly rock. The only song I didn't really take to was the Jewish rap, but a lot of the audience lapped it up. And this show had me laughing out loud, something which rarely happens.
Set design is simple. Mostly cartoon style drawings on flat board. But it worked.
The main lead, Mitchell Jarvis, has a fantastic voice. Also loved Jay Klaitz. And Marilu Henner was really popular with the audience and even came into the crowd during the interval to take selfies.
Despite this being brilliant, I'm not sure how long it will last. There are lots of ticket deals. I got one of $40 seats for people over 40 and ended up front row centre. It is a high stage, but also by the extended platform. With said, the Saturday evening show seemed pretty full.
I hope the over 40s audience take to this one!
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Post by 49thand8th on Jul 30, 2018 16:15:23 GMT
I finally saw Head Over Heels this past weekend and had a GREAT time, although the language can be a bit cumbersome. There was no attempt at non-American accents, so maybe they've just stopped. Rachel York did occasionally sound mid-Atlantic, but that was it. I have no attachment to the Go-Go's or their music, so although the sex-sheet scene was kind of awkward, it was also hilarious. Maybe because I've been a Jeremy Kushnier fan for about 18 years?
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Post by Dr Tom on Jul 31, 2018 15:13:13 GMT
Hello, Dolly! - Shubert Theatre
I reviewed this earlier in the week, so some quick comments about the Sunday matinee performance.
This was one of the scheduled performances with Donna Murphy. They even have different Playbills produced for when she was on.
Brilliant in the role. Quite different to Bette Midler, if anything better comic timing. Only downside I noticed is that she has the same ad-libs at Bette, so they must be scripted.
Audience was fairly full. I got a TDF ticket and was in the side stalls, restricted view, so I couldn't see one of the dinner booths. Luckily it was the opposite side to the one I couldn't see the other day (there must be an awful lot of restricted view with this staging).
Several covers on too, including Michael McCormick as Horace Vandergelder. He was very good, although it's hard to compete with David Hyde Pierce. I imagine that's a very unique pairing of Dolly and Horace which hardly ever goes on.
Heard some people talking about how they hoped "the dancer boy" was on (he was). Good to see Charlie Stemp making a name for himself in New York.
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Post by Dr Tom on Jul 31, 2018 15:20:28 GMT
Carousel - Imperial TheatreFinal NYC show, the one I'd been looking forward to, Sunday evening at Carousel. A good side stalls seat from TDF, marred only slightly by the Spanish couple translating the show to one another. Erica Spyres was on as Carrie. Leigh-Ann Esty was on as Louise. Otherwise, all the leads were on.
Carousel is now like Shakespeare, in that every Director seems to want to find new meaning to it. This version was rather chopped around, particularly in the second half with a lot of dialogue cut and at least one song missing. Some of the songs in the first half seemed extended too, presumably to put in more dance. It did work, but the show lost some of its subtlety.
Joshua Henry was the highlight as Billy Bigelow, particularly when he sang Soliloquy. There was also one of the best performances I've seen on the Ballet sequence, particularly showing Louise's descent.
The emotional parts were really moving. There was a lady behind me who was crying loudly through much of Act 2.
The scenes where Billy dies and Louise gets hit got the loudest reactions I've ever seen at Carousel. Have to remember it's a new show to many people.
It's not the strongest Carousel ever and it is very much presented as a big dance production, but it is well worth seeing. I fear it may not stay open all that much longer as there are a lot of ticket offers around.
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Post by Dr Tom on Aug 2, 2018 18:39:56 GMT
Come From Away - Royal Alexandra Theatre (Toronto)
There are a few theatres in Toronto, although the big tours that tour there tend to follow the US model, of being there for a few weeks and selling subscriber packages to the whole season. Not all the theatres have a show in right now, but it is the summer.
There are currently three or four big shows on. Come From Away, The King and I, Wicked and Willy Wonka (interestingly enough, the more recent adaptation is in Toronto later in the year). Tickets are generally priced high, but lower than New York. I would have seen Willy Wonka, but it just wasn't playing on the days I was in Toronto. Wicked didn't interest me enough to pay the high prices.
Come From Away is one of those shows I've been looking forward to seeing. I believe this is the original production (although it may have closed for a while) and it's moving to a bigger theatre next year. Sold out most of the time.
I got a reasonable priced seat at the back of the Circle (second level). The rake in the Circle is the biggest I've ever seen, so much so you can't touch the floor and have a foot rest. A clear view, although it missed the top half of the stage, but that didn't matter for this production.
Come From Away is a small scale show. 12 actors (3 covers the day I went), 7 musicians, and a set which is almost exclusively tables and chairs that move around. The cast play lots of roles, changing quickly by putting on a jacket or the like, or changing accent. The musicians are on stage.
As you'd expect from a musical based on 9-11, this is very sad, with the atmosphere ruined only slightly by an audience member laughing at inappropriate times. There are some heavy accents, but you can mostly follow it. I can't remember any of the songs, but they worked well. And it's all over in 100 minutes, with no intermission.
One thing to say is the Toronto audiences were very respectful (in general) compared to New York and London audiences. This show got one of the fastest standing ovations I've ever seen.
This was excellent, but I suspect not a show that will hold a lot of interest through repeated viewings. But I will certainly catch it with the London cast when it opens next year.
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Post by Dr Tom on Aug 2, 2018 18:55:44 GMT
The King And I - Princess of Wales Theatre (Toronto)
This is the Lincoln Centre production, the same production as is playing in the Palladium. This is the version that has been touring North America, sat down in Toronto for about six weeks. I believe this is the last Equity leg of the tour before it goes non-Equity.
I've seen this a few times, at the Lincoln Centre, on tour and in London. It's infinitely rewatchable.
This is a classical looking theatre, large and with three levels. I managed to grab a second row Stalls seat on the extreme side. Still a good view as I had a gap in front of me. This was the Wednesday matinee, so mostly an older audience of subscription ticket holders and pretty full. A good audience, just one person who cried out randomly during the show, which I presume was due to a disability.
You do get a Playbill style programme at these venues.
The Canadian audience laugh in odd places.
There were a few questions about staging and sets in the main London thread. This is essentially the same staging and set, but the stage is much smaller than the Palladium, so the positioning of everything is different. Narrower, not as deep, probably half the area. Shall We Dance was very tight for space, but performed well. There's no room to perform in front of the main closed curtains, so those scenes are done on the main set. I think there were fewer pillars.
Very little of the scenery is automated, so it's pushed on and off by the cast.
I'd imagine that the Palladium set is bespoke and this is the style of set we'd get if a UK tour happens.
It will be interesting to see how they trim this for the non-Equity tour, where they often only set down for a night or two at each venue and won't have time to put the main set up.
A lot of the cast have been with the show all the way from the Lincoln Centre run, but they still make the show look fresh. Most of them are interchangeable with the London cast. The diction is incredibly clear, with some of the cast, including the boy playing Louis, talking really slowly. The main reason this version shines is Jose Llana as the King of Siam. He appeared at the Lincoln Centre, has been with the tour all the way through, speaks and sings clearly and has the most expressive face.
Elena Shaddow, as Anna, is new to the tour since I last saw it. She is also an excellent Anna. Not a name I knew, but she has had some high profile regional roles.
The children use different jokes to the Palladium bunch in the March of the Siamese Children scene.
A great final show before I head back to the UK.
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Post by Jon on Aug 2, 2018 20:01:55 GMT
I’ve only been to the Ed Mirvish in Toronto so I’m curious to find out what the Princess of Wales and Royal Alexandra are like
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Post by Dr Tom on Aug 2, 2018 23:30:26 GMT
I’ve only been to the Ed Mirvish in Toronto so I’m curious to find out what the Princess of Wales and Royal Alexandra are like Both pleasant comfortable theatres, grand looking, traditional styled really. Decent sized seats as well. |
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Post by raider80 on Aug 3, 2018 3:09:38 GMT
The Toronto Theater scene has had an interesting history the past 25 years. In the 1990's, Livent ran by Garth Drabinsky built up the big theaters to house the candian runs of Phantom, Les Mis, Miss Saigon, and a few others. He went around claiming Toronto was the next Broadway/West End but, in 1998 Livent declared bankruptcy and Drabinsky was cooking the books. After the scandal, Toronto pretty much fell off with shows only doing tour stops and no sit downs.
Now, it looks like it is recovering with a Come From Away, Kinky Boots, and Matilda sit downs the last few years. I hopeful the upward trend continues.
In fact, The Princess of Wales Theatre was set to be torn down but I guess the plans changed.
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Post by sf on Aug 3, 2018 16:23:37 GMT
The Toronto Theater scene has had an interesting history the past 25 years. In the 1990's, Livent ran by Garth Drabinsky built up the big theaters to house the candian runs of Phantom, Les Mis, Miss Saigon, and a few others. He went around claiming Toronto was the next Broadway/West End but, in 1998 Livent declared bankruptcy and Drabinsky was cooking the books. After the scandal, Toronto pretty much fell off with shows only doing tour stops and no sit downs.
Not quite. After the Livent scandal - in fact, pretty much immediately after the Livent scandal - there were multi-year sit-down runs of 'The Lion King' and 'Mamma Mia' in Toronto (next door to each other, more or less, at the Princess of Wales and the Royal Alex), and there have been several sit-down productions since. 'Hairspray' and 'The Producers' were both sit-down productions (although they both suffered from the downturn in tourism after the SARS crisis, and 'The Producers' was an outright flop), 'Lord of the Rings' ran a year, 'Billy Elliot' was a sit-down production, 'We Will Rock You' ran a year at the Ed Mirvish Theatre (then the Canon) and longer at the Panasonic. There are at least a couple more.
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Post by raider80 on Aug 3, 2018 18:44:45 GMT
The Toronto Theater scene has had an interesting history the past 25 years. In the 1990's, Livent ran by Garth Drabinsky built up the big theaters to house the candian runs of Phantom, Les Mis, Miss Saigon, and a few others. He went around claiming Toronto was the next Broadway/West End but, in 1998 Livent declared bankruptcy and Drabinsky was cooking the books. After the scandal, Toronto pretty much fell off with shows only doing tour stops and no sit downs.
Not quite. After the Livent scandal - in fact, pretty much immediately after the Livent scandal - there were multi-year sit-down runs of 'The Lion King' and 'Mamma Mia' in Toronto (next door to each other, more or less, at the Princess of Wales and the Royal Alex), and there have been several sit-down productions since. 'Hairspray' and 'The Producers' were both sit-down productions (although they both suffered from the downturn in tourism after the SARS crisis, and 'The Producers' was an outright flop), 'Lord of the Rings' ran a year, 'Billy Elliot' was a sit-down production, 'We Will Rock You' ran a year at the Ed Mirvish Theatre (then the Canon) and longer at the Panasonic. There are at least a couple more.
Thank you for clarifying. I completely forgot about The Producers, Mamma Mia, and Hairspray runs. I've always thought that The Lion King, We Will Rock You, and Billy Elliot where all long run tour stops. Side note: Does anybody know if the Billy Elliot run in Toronto was financially successful? The production came from Chicago where I know they had to close about a month and a half early due to poor ticket sales. |
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Post by Jon on Aug 3, 2018 21:29:34 GMT
The one theatre in Toronto I’ve always found intriguing is the Elgin/Winter Garden which are two theatre built on top of each other
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