Such a wonderful visual experience. Alex Sharp is quite talented, and there is such ease and fluidity with which the cast flows in and out of their parts. The relationship between Christopher and his father was the standout to me (emotionally speaking), but holy hell the stagework and tech was so much fun to watch.
I rushed the show last Saturday. I had arrived at the box office at 10:10 and there were still tickets for both performances. Decided to see the evening performance since I heard Alex was amazing and he didn't disappoint. Got seats in Orchestra Row D Stage Left labeled as Partial View. They were definitely partial view as the staging blocked whenever the actors were laying/sitting on the floor. Also when the performers sit on the 'rails' of the stage, the other actors were blocked. Overall a great show and I agree that getting a Mezz seat would have been worth the extra money.
I decided to stage door after the show and everyone came out, although no one had a Sharpie so bring your own if possible. Everyone was super nice when asked for signatures or pictures.
Saw the Wednesday matinee yesterday and Alex was on. The Playbill stated that Taylor is on Wednesday nights and Sunday. Alex was just outstanding and I'm sure it will reflect during award season. I agree with a previous post that the tech and staging is really something to see.
Christopher is a very demanding role. I don't think he's offstage for more than five minutes. Plus, the actor has to set a tone for Christopher that is consistent throughout - but with moments of pure hysteria and screaming - and that has to seem natural and not affected. Then there is all of the physical movements - which while not comparable to dancing the entire show - does put an onus on the actor. There is little freedom of movement for the actor as there might be in "regular" play. Christopher has to be at certain places at certain times to interact with others and set pieces or the show suffers. For example, the actor has a difficult task at the end of Act I which has to be exact - and he has to be acting while not speaking. My spouse saw an understudy have issues with the end of Act I. When it works, it is magic.
Is it more demanding than a verbose play - say Martha or George in Virginia Woolf? Is it more physically tasking than how The Elephant Man was originally staged? Probably not. But, it's pretty demanding.
If they didn't have an alternate the actor would be toast by week 3 or 4 as it is both very physical and probably very mental as well. See it and you will know what we mean.
I have to admit. This was my favorite show this season. I cried during the entire first act and felt horrible for the guy sitting next to me in the balcony. He probably wanted to jump off, haha.
I know this is really late but if anyone is still interested, in the March Playbill...Taylor goes on Wednesday PM and Saturday matinee. And there is still no standby or understudy for the role listed...so vacations and getting sick must be pretty tricky.
I really enjoyed the show - even though I was not crazy about the book..actors were outstanding. The set was awesome..
^That may have been a temporary change....the program I got on Sat had the same schedule as before: Taylor going on Sun & Weds Mat (I think) I do know that Alex was most definitely on for the Saturday mat.
I know I'm late in the game getting to see this: but WOW. Amazing acting, great adaptation, and the technical aspects were mind blowing (although I wonder how this would stand up without it -- I'm thinking for regional and school productions). I had not read the book previously, as I wanted to view the play totally on its own merits, but now plan to do so.
I am still sifting through the performance in mind and absorbing so much.
I would expect Tony noms for: direction, new play, lighting and for Alex.
If we're not having fun, then why are we doing it?
These are DISCUSSION boards, not mutual admiration boards. Discussion only occurs when we are willing to hear what others are thinking, regardless of whether it is alignment to our own thoughts.
I was at the 4/8/15 Wednesday matinee and Alex Sharp was Christopher. The playbill I got says Taylor goes on Wednesday evenings and Sunday matinees. I LOVED everything about this show. Thought it was brilliant and I plan to go back in the near future, with hopes of getting mezzanine seating.
I rushed and received Orchestra row C seat 14, I got to move over to seat 10 and could see pretty well from there. I can't imagine seeing much from seat 14. Extremely partial. $39, too. Crazy.
I was at today's matinee (Saturday) and Alex was on. The show was amazing and the house was completely full. I cried many times. I have a son with mild Asperger's so I got it all. I sat in the $27 seats (second to last row, right next to the tech box) and I thought the seat was perfect.
The messages above are all within the last week. All current.
If we're not having fun, then why are we doing it?
These are DISCUSSION boards, not mutual admiration boards. Discussion only occurs when we are willing to hear what others are thinking, regardless of whether it is alignment to our own thoughts.
I was able to return to Curious Incident yesterday for the Sunday matinee and sat in the front row of the right mezzanine, seat 8. My Dad was seated in seat 6. Great view and saw Taylor Trensch this time after seeing Alex Sharp 3 weeks ago. I enjoyed both performances.
This is a random question but I noticed that the first time I saw the show, (possible SPOILER here) there was a maltese puppy Christopher was gifted. This time around it looked like a lab puppy. My question is - do they get a new puppy every few weeks? Because they're clearly puppies and not just small dogs. If so, does anyone know how that works? Where are they getting all these puppies from? haha
Back in November, the puppy was a Golden Retriever. Dogs that size grow really quickly, and it's got to be a puppy. I imagine they have to recast every six weeks are so.
Is there an understudy for Christopher, or does Sharp step in if Trench can't perform?
They are understudies for each other, so if one of them is sick or on vacation, the other will go on for those performances. They are currently on the 9th Curious Incident puppy, and she is the first girl!
Not sure what took me so long, but I only just saw this play last night and loved it. It will be remembered as one of those treasured theatrical experiences that was completely satisfying in terms of content, production and performances. I'm kicking myself for not having seen it earlier.
And for those who haven't seen the NY Times article about what has been happening with the puppies, this is an adorable read:
For me CURIOUS INCIDENT can proudly take it's place alongside WARHORSE, EQUUS, maybe AMADEUS, and a very select bunch of other British plays that come alive more like a musical than like a play (and for me that's top praise). The choreography, the music/soundscape, the design-- they all reach my subconscious like a fabulous tap-dance number might, zooming straight past the part of my brain that analyses words and hitting my heart from some core place that's purer. I guess that's the definition of Total Theater.
I completely agree, and I give enormous credit to Marianne Elliott, who also directed War Horse, for her pasion, intelligence, and dazzling theatricality.