BTW, my darling WITHOUT A TRACE was supposed to be there for first preview, but he couldn't get a ticket, so he's going on Wednesday night. I am also extremely interested in what others have to say.
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RippedMan, I saw it on Saturday night and was grossly disappointed. Here's a little of what I had to say:
Posted On:12/20/11 at 10:18
I had planned to see it in Boston, but then my trip was cancelled, but I read all of the reviews. In fact, I found Brantley's review "encouraging." I bought tickets for the Bway production figuring they'd spruce it up...and despite my strong negative response to Paulus's HAIR.
I was open-minded and excited about seeing it. I have seen the four principals in other productions and like them all immensely. I even have a friend in the show. So I was "wired" to love it.
The direction is the problem. I did not extract from any of the performances the reasons these characters respond to one another as they do. No character development, no relationship dynamics, no personalities, nobody to root for! McDonald, Lewis, Grier and Boykin are all very, very good. But, as Brantley suggested, they don't seem to be doing it "together." And, yes, we want Bess to stay with Porgy, but it's because we love Norm Lewis and Audra McDonald, not because we love Porgy or Bess.
There are so many problems obviously tied to the direction that it would take hours for me to explain. And I just don't have the time. Sorry.
What many people don't realize about PORGY AND BESS is that a great percentage of focus, cohesiveness and other attributes found lacking by many posters here is, like most great operas, provided by the music. Not the melodies- the MUSIC. If you cut the recits, the glorious orchestrations and connecting under-melodies where this story LIVES, less than half the story is being told. Get the Houston Grand Opera recording, the London recording by Lorin Maazel, or the eternally glorious 1951 recording by Lehman Engel to truly understand this currently undernourished work. It will be an education.
Saw it last night and really enjoyed it. justoldbill, you may have hit that nail on the head for me regarding what I found lacking with the production.
People have talked about not liking the set. I wasn't crazy about it at first but after a bit really liked what they did with it. The lighting was beautiful.
If there is a "weak link" in the show/cast, it is David Alan Grier in my opinion. His acting was fine but he was outsung by the rest of the cast. In his big act two song it was obvious that the amplification on his mic was turned up at certain points during the song. The ensemble is vocally INcredible. A few things they may need to work on like the song in the scene where they are **Spoiler?** collecting money for the funeral. It was just off and she sounded garbled and off key. It really needs to be tightened up.
I was very excited to see Nikki Renee Daniels again. (Saw her 3 times in "Dorien" in Denver). She opens the show with "Summertime" and sounds just as wonderful as she did when I saw her years ago.
Audra is probably looking at another Tony nomination. Her tranformations throughout the show were pretty flawless and the island scene with Crown and her "breakdown" scene in Act II were enough to get that nomination. Norm Lewis was also wonderful.
From what I was hearing with the people I attended the show with, it is selling pretty well. Last night was sold out. I would see it again.
The curtain looks like a huge bedsheet with the logo on it. They have 2 merch stands with mugs, 2 tee-shirts, the window card, a magnet, David Alan Grier's book and Norm Lewis' cd. They are taking e-mail addresses on a list to let you know when the recording and the program will be available.
I don't normally stagedoor, but it was Audra. Nikki Renee came out and signed. She was very nice. Got to chat about "Dorian". The ensemble members were all very nice. David Alan Grier signed on one side, ignored the other side and walked away. He seemed to be really annoyed at something. Wasn't pleasant at all. (Just a note...Ms Daniels signed on one side and went to leave, I guess thinking the other side didn't want signatures. When they called out to her she smiled said "sure!", and ran over to the other side to sign. In the rain. Really nice lady.) Audra came out and signed and chatted. She also took pics. (I got a pic with her and am quite happy!) I left before Norm Lewis came out as I had to catch a bus.
Hoping to catch this on Monday. I believe that Audra does only one performance on two performance days. Does anyone know if she skips the matinee and does the evening or is it the other way around? Or is it a matter of you wont know until you get to the theatre?
Saw it with my ex husband last night! He loved everything about it, but he is a trained musician and loves the piece anyway. I knew nothing about it going in- I felt it was a little bland.
I have, however, been a big fan of Audra's since Private Practice! I hope she didn't leave the TV series for this.
uncageg, does Paulus still have Grier bent at the waist for an unbearable number of minutes looking out the door to indicate that Crown will be coming back soon? Could she not afford a flashing neon sign with an arrow; it would have been more subtle and easier on Grier's back. I'd be cranky after ending the show in that position night after night.
I thought his "Ain't Necessarily So" was a highlight in Cambridge, but the ActT 2 number undid the good will. I got the feeling they Act 2 was the least rehearsed.
I think one should take into account that stage dooring can be awkward to someone who doesn't view themselves as a "STAR."
I've encountered what could easily be construed as snubbing or arrogance when I used to stage door, when it hit me that it's actually the actor being unsure as to whether or not we want THEIR autographs and sort of lingering and abruptly leaving when we don't make the first move. It's terribly awkward but there's no way around it unless you tell everyone that wants your autograph to form a line, then that would just seem pig headed. Not to say no one is ever arrogant, but I've always noticed an awkwardness and uncertainty to go along with that supposed rudeness. I choose to believe it's the former half the time.
Recreation of original John Cameron orchestration to "On My Own" by yours truly. Click player below to hear.
I saw the show last weekend, and I really loved it. I had the chance to see it in Boston, and I feel that the cast and storytelling has only grown.
Those that are skipping out are really missing out on wonderful performances by McDonald and Lewis. And the ensemble is SO talented. All the music is absolutely beautiful.
My one complaint (and it is minor because the cast basically allowed me to ignore this element) was the set. The simplicity really worked with the set in Boston, but I find the paneling distracting in this new set. The lighting is just as beautiful as it was in Boston.
Regardless, I really loved the music and story, and I think the cast does a great job of showing the dynamics of the community of Catfish Row. I was extermely invested in the story and lives of the characters on the stage. While I have not seen the opera, I know from my experiences with various operas that this is a hard thing to accomplish. So I can't vouch for the authenticity compared to the original, but I do think that the storytelling is well done.
So, that was the Drowsy Chaperone. Oh, I love it so much. I know it's not a perfect show...but it does what a musical is supposed to do. It takes you to another world, and it gives you a little tune to carry with you in your head for when you're feeling blue. Ya know?
Caught this Xmas eve matinee. I really enjoyed many many aspects of the show. While I'd never seen a production of this , I was familiar with the story and much of the music.
Can't say I LOVED it, but I was moved and would reccommend it to friends.
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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.