Profile for Elizabeth Moore

The book is narrated by grown-up Scout, remembering how she saw life through the eyes of a 10-year-old. So, young Scout is not able to fully comprehend everything the reader can see, which the older Scout recognizes. 

I suppose it all depends which specific themes Sorkin is seeking to highlight as to whether or not the children as adults thing works out...

There is a pretty terrible bass beat on repeat the first twenty minutes of the pre show. It also looped during intermission. It was not from anything popular and lasted about four seconds before repeating so it was incredibly frustrating....

theaterdarling said: "VintageSnarker said: "I don't care if it's a thin, romantic melodrama. This moment was perfectly executed in the movie and it's what audiences are going there to see.

https://www.youtube.com/watch?v=F8dW1ddAC_4"

I am going to see the show on Aug 3 and thus part of the "audience" you refer to. Contrary to your assertion, I am going there to see Alex Timbers and John Logan's interpretation of Luhrmann's "Moulin Rouge" (and to which Luhrmann has given his blessing), not to see what was perfectly (or otherwise) executed in the movie precisely recreated on stage. A theatrical version will have its own delights and exploits which I am (and I bet others) are looking forward to. It seems to me that if people are going to the theater to see perfect recreations of all or certain scenes in the movie, then disappointment will be inevitable (and, clearly, no point in waiting to see the show in its entirety to register that inevitable disappointment).

As someone who was physically there I think the problem the op is referring to is that we didn't see the lovers reconnect at this pivotal moment -a pinnacle of their love. Instead, she was panicked that he was about to kill himself and seemed to be acting only to save him, not because she had any hope they'd be together. It is established that she expects to die on stage, she knows she is at the end before the performance even begins. The love story part never came together because the story wasn't the central concern.

 

Movie it not, everyone wants a good love story. (Or not, I suppose. To each their own. ??

Yes. This moment fell VERY flat.

I'm anxious to see what the reviews from tonight say. After the weekend, there are two days off again for (hopefully) more changes. Opening Night freeze is still ten days away. *Crosses Fingers*

Mattie - If you are center on the balcony it would be a great seat. I was towards the house right (stage left) side and there were parts of the action I had difficulty seeing. That said, the theatre isn't too large, so you'll have a good seat for a much more reasonable price!

It was definitely bigger than 17x11. I would say probably 14x22. I can double check for you in the morning. :)

"Danny Burstein is, of course, a treasure. But whoever made this SIX TIME TONY NOMINEE sing Florence and the Machine’s “Shake it Out” should be shot. What a waste of his talents! Sahr Ngaujah was the highlight of the night for me, and if this does transfer, I believe he will be the one walking away with the Tony."

I was there as well and THIS. ALL OF THIS.

The production was incredibly entertaining. The sets and lights were breathtaking, the choreography captivating, and the performances by every single body on stage were beautifully diverse and enthralling (Who knew hearing 3 men harmonize on Sia's "Chandelier" was so essential to life? I do now.   

Sadly, the dramatic structure and the book do not deliver at adapting the heart of the story from the original film. Creative liberties are essential in this kind of adaptation, but the focus on the energy of the Moulin Rouge purposefully overshadows the love story and conflict of the characters. The performers do their best with what they were given (awkward monologues, giggle-inducing song fragment inclusions, etc), but the dramaturgical struggles meant that anyone who was not familiar with the new pop hits infused into the score sat confused. Anyone who had not seen the movie might also wonder at the purpose of several of the numbers.

It became exhausting that every time a more contemporary song was introduced, there was a huge audience giggle. I think this is partly due to the fact that, unlike in the original movie, the songs are basically sung as recorded by the pop artist and not reimagined to meld into the story being told. 

(Please also cut or edit the 25+ minute preshow strutting around the stage nonsense. The ensemble sold it well, but it was completely unnecessary in current form - perhaps something was off due to it being the first preview and first public performance for the new managing company.)

Karen Olivo KILLS "Firework" (in the best way) but that song felt completely wrong and I really, really disliked the inclusion of this song instead of literally ANYTHING ELSE. She also didn't sing all of it (most of the songs are only fragments, so nothing is fully performed except for the mash-ups). Aaron is obviously divine. Sahr Ngaujah is the HIGHLIGHT/surprise of the show. His Nature Boy was the best acted, most understated moment in the piece and if the rest of the show followed-suit in the supposedly character-driven moments, it would benefit greatly. He also had a great speech about the fear artists should inspire in this world. Round of applause for all on that one. 

Strangely, the spectacle does a fantastic job of distracting you from the moments when you see the veneer thin. I left the theatre entertained, but not moved. Still, I believe that with the source material given, and the INCREDIBLE talent of their ensemble of performers, there is the potential for an amazing marriage of all essential elements of theatre. This is what out-of-town tryouts are made for. Broken legs to all involved!

(As for backpacks, there was a table for the backpacks at the end of the night, so at some point, they seemed to collect them and return after. There was no formal check - maybe something for them to consider. I was also given some grief about my napsack but allowed through. The only challenge was with SO LITTLE leg room, I could see them denying bags for that reason alone.)

The boxes are generally seating at the Colonial. The set felt like it was designed for a Broadway theatre and made to fit the Colonial. We were in the middle right of the front balcony and it felt like an obstructed view seat (it was not advertised as such and really shouldn't have been). 

It is a BREATHTAKING set, regardless. I'm curious to see how it evolves as it eyes Broadway.