Post by Deleted on Jul 4, 2018 18:11:53 GMT
I'll be writing 'proper' blogs/reviews but I thought I'd write a brief trip report here as well (I enjoy reading other people's so maybe other people will enjoy mine)
The Destiny of Me: I never usually book for the evening I arrive, mainly as i usually don't land until 8ish. But we flew earlier, and The New Group had announced a benefit reading of 'The Destiny of Me' which I couldn't resist. So after a slightly fraught journey there, we went. As much as I was exhausted (and had a blazing row with my Mother on the way home) I wouldn't have missed it. Seeing the lesser done of Larry Kramer's double (and in my opinion the better play, writing wise) was in itself a treat. This was also a version with previously unseen re-writes, which really was a money-can't-buy moment of excitement. The cast was excellent- Mark Ruffalo giving his brilliant Ned again (though Mum said he was difficult to understand from upstairs) Lee Pace was excellent as Benjamin, and Gideon Glick stole the show as young Ned.
The real highlight however was firstly Tony Kushner's introduction- back a few years nobody would think he would introduce Kramer's play (they fell out spectacularly for a while). Added to that, it was Larry's 86th Birthday (by pure coincidence) so hearing Tony Kushner say 'Happy f***ing Birthday Larry' was the stuff of dreams for this nerd. And joining in singing Happy Birthday to Larry Kramer....honestly I have no words for how special that was to me.
Carmen Jones to quote a friend of mine "It'll be good and short" and that it was. In a week of seeing first major revivals, this was also a brilliant one. Doing what Doyle does best and stripping back in his 'essentialist' way it's a really perfectly formed version of the musical. Anika Noni Rose is as brilliant as you'd expect and the power of her-both voice and presence is really something in the small space. The staging as with all of Doyle's pieces is brilliantly simple, but incredibly effective. And this was one of two I'll be glad to have seen in their small spaces should they transfer elsewhere. Stunning cast all round for this one, as well as recognition for a similarly stripped back but brilliant orchestra. There was something incredibly powerful about hearing that music in such an intimate space, and sung in such an intimate way.
The Boys in the Band I'd seen this at the Park in London so was keen to make a comparison. My overall verdict is actually if you could meld the two together you'd have the perfect version of this play. The Park at times, didn't take the weighter elements of the play seriously enough, the Broadway version at times takes itself too seriously and misses that balance (Mantello certainly does with his blanket ban on water in the theatre and leaving at any point).
Jim Parsons is excellent in the lead role. He has a dark bitchiness to him that works incredibly well, but you can also see the hurt and darkness to his character. His relationship with Matt Bomer is also believable and complex. Bomer too is excellent (I wouldn't have known him if I fell over him before this, but he's an actor I now want to see more of....though on a shallow note we saw quite a bit of him in this too). The real highlight for me in the cast however was Andrew Rannells. I have adored the man for years, but anyone who thinks he's a one-trick musical theatre pony should see this. His performance is subtly brilliant, and unlike some of the actors really seems to get under the skin of the play.
A slight disappointment for me was Zach Quinto...I just didn't click with his interpretation at all. Too big, too pantomime...I think he was trying to get under the skin of it, but for me it never quite landed. It wasn't bad...but it also wasn't good. But maybe it's just me.
This Ain't No Disco Oh how I adored this. And this makes up for my never getting to see the Hedwig Revival. At Atlantic Theatre currently but I'll eat my glitter platforms if it doesn't get a transfer (if anyone is smart to Studio 54 Obviously). From the team that created Hedwig, set at the closing of Studio 54 this is a worthy successor to Hedwig- the same feel, and sound without trying to replicate it. One of those musicals where you want to bottle the feeling of several songs all at once. It's also a beautiful hymn to modern diversity without being preachy- again as you'd expect from that team, people are who they are-gay, trans, struggling with issues- all wrapped up within the world of the play, just existing without banging it over anyone's head, but also celebrating who they are (I'm not explaining that wonderfully but still). And the 11 O'Clock number is one of my favourites in a long time, the kind that makes you want to cry and leap to your feet with applause.
I saw I think the third preview, and there was a real sense of being let in on a secret. It was still rough around the edges, but oh when it's polished it's going to be fantastic.
I feel like I saw far less this time around because I saw Angels twice. Which I'll dump thoughts on in that thread for anyone who can't bear to hear me utter the words again....
The Destiny of Me: I never usually book for the evening I arrive, mainly as i usually don't land until 8ish. But we flew earlier, and The New Group had announced a benefit reading of 'The Destiny of Me' which I couldn't resist. So after a slightly fraught journey there, we went. As much as I was exhausted (and had a blazing row with my Mother on the way home) I wouldn't have missed it. Seeing the lesser done of Larry Kramer's double (and in my opinion the better play, writing wise) was in itself a treat. This was also a version with previously unseen re-writes, which really was a money-can't-buy moment of excitement. The cast was excellent- Mark Ruffalo giving his brilliant Ned again (though Mum said he was difficult to understand from upstairs) Lee Pace was excellent as Benjamin, and Gideon Glick stole the show as young Ned.
The real highlight however was firstly Tony Kushner's introduction- back a few years nobody would think he would introduce Kramer's play (they fell out spectacularly for a while). Added to that, it was Larry's 86th Birthday (by pure coincidence) so hearing Tony Kushner say 'Happy f***ing Birthday Larry' was the stuff of dreams for this nerd. And joining in singing Happy Birthday to Larry Kramer....honestly I have no words for how special that was to me.
Carmen Jones to quote a friend of mine "It'll be good and short" and that it was. In a week of seeing first major revivals, this was also a brilliant one. Doing what Doyle does best and stripping back in his 'essentialist' way it's a really perfectly formed version of the musical. Anika Noni Rose is as brilliant as you'd expect and the power of her-both voice and presence is really something in the small space. The staging as with all of Doyle's pieces is brilliantly simple, but incredibly effective. And this was one of two I'll be glad to have seen in their small spaces should they transfer elsewhere. Stunning cast all round for this one, as well as recognition for a similarly stripped back but brilliant orchestra. There was something incredibly powerful about hearing that music in such an intimate space, and sung in such an intimate way.
The Boys in the Band I'd seen this at the Park in London so was keen to make a comparison. My overall verdict is actually if you could meld the two together you'd have the perfect version of this play. The Park at times, didn't take the weighter elements of the play seriously enough, the Broadway version at times takes itself too seriously and misses that balance (Mantello certainly does with his blanket ban on water in the theatre and leaving at any point).
Jim Parsons is excellent in the lead role. He has a dark bitchiness to him that works incredibly well, but you can also see the hurt and darkness to his character. His relationship with Matt Bomer is also believable and complex. Bomer too is excellent (I wouldn't have known him if I fell over him before this, but he's an actor I now want to see more of....though on a shallow note we saw quite a bit of him in this too). The real highlight for me in the cast however was Andrew Rannells. I have adored the man for years, but anyone who thinks he's a one-trick musical theatre pony should see this. His performance is subtly brilliant, and unlike some of the actors really seems to get under the skin of the play.
A slight disappointment for me was Zach Quinto...I just didn't click with his interpretation at all. Too big, too pantomime...I think he was trying to get under the skin of it, but for me it never quite landed. It wasn't bad...but it also wasn't good. But maybe it's just me.
This Ain't No Disco Oh how I adored this. And this makes up for my never getting to see the Hedwig Revival. At Atlantic Theatre currently but I'll eat my glitter platforms if it doesn't get a transfer (if anyone is smart to Studio 54 Obviously). From the team that created Hedwig, set at the closing of Studio 54 this is a worthy successor to Hedwig- the same feel, and sound without trying to replicate it. One of those musicals where you want to bottle the feeling of several songs all at once. It's also a beautiful hymn to modern diversity without being preachy- again as you'd expect from that team, people are who they are-gay, trans, struggling with issues- all wrapped up within the world of the play, just existing without banging it over anyone's head, but also celebrating who they are (I'm not explaining that wonderfully but still). And the 11 O'Clock number is one of my favourites in a long time, the kind that makes you want to cry and leap to your feet with applause.
I saw I think the third preview, and there was a real sense of being let in on a secret. It was still rough around the edges, but oh when it's polished it's going to be fantastic.
I feel like I saw far less this time around because I saw Angels twice. Which I'll dump thoughts on in that thread for anyone who can't bear to hear me utter the words again....
