Posted: 2/25/16 at 7:25pm
Cupid Boy2 said:
General rush for $30 when the box office opens.
https://mobile.twitter.com/BrightStarBway/status/702939567675084800
"
Thanks! Checking their twitter would have been the next step. Usually relying on BWW to have an announcement (I don't follow on the individual shows as I don't need all their advertising, but follow all the general sites) and I didn't see one today.
Posted: 2/25/16 at 7:46pm
I'll be interested to hear thoughts on whether this show has a "defining song". A few people online who saw it at KenCen said that the music is fine but there's no one song that sticks out. Hope they're wrong, as any musical needs that to survive. Cusack has waited long enough to perform on Broadway; am hoping for a hit for her and this cast.
Posted: 2/25/16 at 8:15pm
SLSigafoos said: "I'll be interested to hear thoughts on whether this show has a "defining song". A few people online who saw it at KenCen said that the music is fine but there's no one song that sticks out. Hope they're wrong, as any musical needs that to survive. Cusack has waited long enough to perform on Broadway; am hoping for a hit for her and this cast."
I don't think there is a "defining" song. There are songs that I like such as "I Had a Vision," and "Another Round." The show's just not structured that way, and perhaps that will be a problem for some. What I can say is that it is an original score, with original melodies, and they are not particularly traditional musical theatre in their forms.
This really is an old fashioned musical -- it's not overly complicated, it's not convoluted for its own sake, and yet it's not treacle-y sentimental. But it is sentimental in that old musical theatre tradition, and for that I like it. I don't think it's going to be a blockbuster, it's just not that kind of show particularly given some of its darker themes. On the other hand it has more substance to it than many jukebox shows that have disgraced Broadway.
Posted: 2/25/16 at 8:43pm
newintown said: "I'm always a bit dubious when the composer(s) for a show can neither read nor write music; it worked out fine for Mel Brooks (thanks to Glen Kelly) and Cyndi Lauper (thanks to Stephen Oremus), but not so well for Sting, Bono/The Edge, Dolly Parton and others. Not that these people aren't all accomplished at singing and/or playing an instrument or two; but composing a show can be seen as needing more technique."
None of those composers can read or write music? Wow, I find that shocking (I knew about Mel of course).
Posted: 2/25/16 at 9:37pm
The cast is really talented but still left at intermission. That bad. I can't see this staying afloat for more than a few months, at best.
Posted: 2/25/16 at 10:16pm
Oh my...really that bad? Can you give us more details please?
Posted: 2/25/16 at 10:39pm
I was also there tonight and really enjoyed it. Yes, the plot is purely of the Hallmark variety, but I thought the staging was beautiful, the bluegrass score tuneful and the cast uniformly strong. This is a wonderful Broadway debut for Carmen Cusack. I don't know if this will catch on with cynical New Yorkers, but I thought it was lovely and (unlike Disaster) could certainly see this becoming a popular show on the regional and amateur market.
for those wondering, the rush tickets are on the front row and were excellent.
Updated On: 2/25/16 at 10:39 PM
Posted: 2/25/16 at 10:53pm
I LOVED IT. Boysdontcry66 I really find it hard to believe that you saw any of the show...I feel you must have an agenda. I was there tonight and found it enchanting from start to finish. I thought the performances were completely solid from top to bottom and I walked out humming several songs. I totally loved it....laughed a lot, cried and left feeling uplifted. I think it may be a tough sell, but I think the elements are all good enough that the show will catch on and be around for a while.
Posted: 2/25/16 at 11:03pm
Bwaybby, did the audience seem responsive/receptive, especially at curtain call? Glad to hear you use the word "uplifted". That's generally what I hope for with any show I choose to spend money on. I want to walk out feeling generally hopeful and upbeat, unless I know beforehand that I've chosen a show that clearly isn't going for that feeling.
Posted: 2/25/16 at 11:06pm
Any Tony worthy performances?
Posted: 2/25/16 at 11:17pm
The house was pretty full tonight and the audience was enthusiastic, though luckily not in the sometimes obnoxiously overt way first night crowds often are.
As for Tony prospects, it will depend on how its reviewed and we also have a few other new musicals this season we haven't seen - but I think score, orchestrations, and Best Actress seem like promising bets for nominations, and Best Musical is certainly within the realm of possibility. I personally would nominate it over "School of Rock" in a heartbeat. I would also love to see Jane Greenwood nominated, who never, ever makes a false move. Sitting in the front row tonight, I was stunned by the small (and perfect) period details on the clothing. But the show's design may ultimately be too sparse for Tony tastes.
Updated On: 2/25/16 at 11:17 PM
Posted: 2/25/16 at 11:25pm
It's infinitely better staged than ALLEGIANCE. And I think a vastly superior score, and uniformly better performances. There is a common sentimentality to both shows, I will say that, but that's about where I'd draw the line.
Updated On: 2/25/16 at 11:25 PM
Posted: 2/25/16 at 11:39pm
It was sheer luck that I was in the audience --- I didn't know this was the first preview -- just dashed down to tkts, knew NOTHING about this show (have been immersed in a work project) -- and then I sat down on the left hand side, row J (next to two tourists from North Dakota -- we chatted a bit before curtain).
I had no expectations at all, have heard nothing -- that's how I like to experience a show -- let it unfold onstage to tell its story.
The singers are first rate -- I loved the staging/choreography -- and the set, esp the train -- I was charmed by the show, though it was easy to figure out where it was going. The music is very pretty, but it's bluegrass, which is simple chord progressions, though played with great skill by the musicians onstage.
The show didn't seem to really come alive until the 2nd act. Jeff Blumenkrantz sort of steals every scene he is in without even trying -- he's such a pro. There are some great laughs near the end, mostly thanks to him. It was great to hear the audience laughing so loud at last -- but then it also was a reminder that for so much of the show the audience isn't as engaged.
My first thought after it was over was to call my songwriting friends in Nashville -- I think this show could find a huge audience out there outside of New York City (I felt that way about "Hands On A Hard Body," too -- though it's not as polished as this show) -- it's a story that many in middle American can relate to, but maybe not so much the sophisticated New York theater audiences. But I did get a bit teary twice -- and, btw, the couple from North Dakota loved this show. LOVED it. Ultimately we write songs for audiences, not for other songwriters, and though the lyrics aren't sophisticated, they do match the music well.
I think the title is terrible -- as banal as it gets. I wish it had more spark. But I do believe there's a large audience for it, and I hope they get to strut their stuff on the Tonys -- where regional theaters can size it up. I could also imagine it having a long run in Nashville at a theater like the Ryman, with a revolving cast of country stars.
Though the ONE thing the show could do to really pack the place (taking a page out of Sting's book) -- if Steve Martin played the banjo in the onstage band, instant sell out. People adore that guy (and rightly so). I wonder if he'd consider doing that?
All in all, the singers are spectacular, the musicians are first rate. And if you love bluegrass music, you'll be in heaven.
Posted: 2/25/16 at 11:44pm
Well that was not what I was expecting, and for the most part what a delightful surprise Bright Star turned out to be. There are problems, but the good far outweighed the bad. First and foremost Carmen Cusack is giving a stellar performance; she often reminded me of Donna Murphy in both vocal and physical mannerisms. It's another fine year for musical leading ladies!
I'm not the biggest fan of bluegrass/country-flavored scores, but this one must be one of those exceptions that prove the rule. The music and orchestrations were just lovely and I find myself still humming some of the melodies. Very catchy stuff. Unfortunately the lyrics are not on the same level with the music. Two of my friends claimed they thought the lyrics were downright awful- I don't know if I'd go that far, but there were many imperfect rhymes and repeated phrases. In fact the imperfect rhymes were so frequent that I can only hope they were a stylistic choice- like the North Carolinian colloquial equivalent of blank verse.
The biggest problem is the structure of the storytelling because you can see what's happening a mile away. The show alternates timelines between 1923 and 1945. In 1923 Cusack is in love with Paul Alexander Nolan, although both of their fathers are doing their best to keep the two apart. In 1945 Cusack and Nolan are clearly not together, so the dramatic tension of their relationship in the earlier period is non-existent. There is also a wannabe "surprise revelation" in the 1945 timeline that is so clear as day that only a dunce wouldn't be able to figure it out 10 minutes into the play. You have to wait till almost the end of the second act before it's revealed and by then the audience is so far ahead of the characters that it's a wonder the revelation is able to have any impact at all. And yet Cusack is so inspired in this sequence and given a nice 11 o'clock number that she somehow makes it work and got my eyes a little misty. (Maybe it was the North Carolinian accent, but I couldn't stop picturing Cusack as Margaret in Light in the Piazza at times. Did I mention that I really, really liked her performance?)
I don't know if the production design and direction were wrought out of budgetary restrictions or artistic vision (or likely a combination of both), but whatever the reason Walter Bobbie's Our Town minimalism worked for me. There's very little set and the back brick wall of the theater is exposed. The townspeople move what set pieces there are around much like the ensemble did under Bart Sher in Bridges.
The cast is chock full of Broadway vets including Dee Hoty and Stephen Bogardus (Whizzer!). Emily Padgett gets a nice uptempo fun number in act two. AJ Shively was in nice voice and Hannah Elless gave what could have been a dull good girl role some spunk.
I'm especially glad that Paul Alexander Nolan is still able to land a lead after suffering through such bombs a
Posted: 2/25/16 at 11:49pm
Part two! Somehow I was cut off and can't edit that post...
such bombs as the JCS revival and Dr. Z because the guy is quite talented and deserved better than the cards he had recently been dealt.
I have a feeling that Bright Star is going to be my Bridges of this season. That show with some great performances and wonderful music that will end up breaking my heart while I root for it all the way.
Posted: 2/25/16 at 11:51pm
I hope this show around when I come for ten days in July!
Posted: 2/25/16 at 11:58pm
Thanks for the review, Whizzer, as usual. I'm seeing this next month and fairly excited.
Posted: 2/26/16 at 12:00am
I just didn't care about any of the underwritten characters or the plot in general. The cheesy book, repetitive score, cheap set, and bland direction did nothing to draw me in. The show by no means was appallingly bad, just boring and purposeless. Perhaps it got better in Act 2, and I am happy that others enjoyed it. I just wasn't willing to give more of my time to this.
Posted: 2/26/16 at 12:01am
I was up in the balcony and it was at least half empty up there. I agree that the title stinks, especially after seeing the show and knowing what it's about.
The only thing this might have in common with Allegiance is the length of its run. Other than that Bright Star is leagues better in every way.
Posted: 2/26/16 at 12:03am
I want to defend the lyrics for a moment; or perhaps what I assume is the intent behind them. Blue Grass music is rooted in early American folk and minstrel music. I don't need to tell you that the lyrics to "I Dream of Jeannie with the Light Brown Hair," "The Old Folks at Home" and "Camptown Races (Doo-Dah, Doo-Dah)" are provincial at best and not going to keep Stephen Sondheim or Lin-Manuel Miranda up at night losing sleep (if you're looking for perfect rhymes, look elsewhere).
The lyrics in BRIGHT STAR I thought did a pretty admirable job of feeling like the musical style being emulated, with enough specificity to still be character and plot driven.
And I also must say what Walter Bobbie did here was much superior to Bart Sher's use of the townspeople in BRIDGES. There were some moments of the staging tonight that made me gasp. The ensemble here felt more like an integrated Greek chorus with tremendous precision -- I loved, for example, Billy's first number where the ensemble moved him almost cinematically through his journey with carefully timed maneuvering of props and stage pictures; and then Margo's number where the ensemble briefly 're-winds' the action after she gives Billy the money for his cashed check.
I also take issue with those who say the show looked "cheap." There is a difference between minimalism and 'cheap.' As I mentioned above, the attention to detail in the costumes for example was gorgeous. The fact that the concept of the show was minimalistic in scenic elements doesn't make it by default 'cheap.' If you want to see 'cheap' -- go to the Nederlander Theatre and look at the scuff marks on every piece of scenery at DISASTER.
I agree that the weakest part of the show is the structure. I too wish it could be positioned in such a way that the inevitability of the plot wasn't so...inevitable. But I like most everyone else found it all ultimately charming.
PS - Boysdontcry -- I too was in the front row tonight with my girlfriends (we were the chatty Brits) and I actually didn't see anyone on the front row leave at intermission. Did you change seats before the show?
Updated On: 2/26/16 at 12:03 AM
Posted: 2/26/16 at 12:20am
I agree with you that the show doesn't feel "cheap" and the staging of the Bright Star number (Billy's Journey) was indeed exciting.
I'm not familiar with the bluegrass music and the rules that govern it- I do think when a genre of music is utilized in a musical theater setting that it should adapt to some of the conventions of musical theater and meet in the middle. It sounds like the lyrics of Bright Star adhered a little too closely to the Bluegrass conventions than I would care for. If imperfect rhymes are acceptable/encouraged in Bluegrass music that's fine, but I think on the Broadway stage you run of the risk of appearing sloppy and/or lazy if that device is relied too heavily upon.
Posted: 2/26/16 at 12:30am
Did they keep in "man's gotta do what a man's gotta do what a man's gotta do what a man's gotta do what a man's gotta do what a man's gotta do what a man's gotta do what a man's gotta do what a man's gotta do what a man's gotta do what a man's gotta do what a man's gotta do what a man's gotta do what a man's gotta do?"
Posted: 2/26/16 at 12:37am
Yes that lyric did remain.
.jpg?format=auto&width=365)
