The Official Ace Musical Thread- Page 5

[musicalman2]

Posted: 9/4/08 at 8:20am

Jordangirl, I think you might have misread Peter's comment about the boy. A "lack of affectation" suggests that the performance was genuine, where it might have been superficial and put on. I read that comment as positive.

[Samantha4]

Posted: 9/4/08 at 10:52am

Peter Marks was generous. The problem with Ace, besides the unexciting score and lyrics, is that it is so contrived. I can't put my finger on it except to say that I wanted to feel more. I wanted to cry and couldn't. I wanted to be uplifted, but nothing moved me. My father was a pilot and WWII vet. I thought seeing this show would put a lump in my throat, but it didn't. I drove down with my three kids from NYC because they all love reading books and seeing movies about aviation and space. I thought that taking them to see Ace would be a nice thing to do before we went to the Air and Space Museum. We were all bored to tears. And those tickets weren't cheap. I hope they can fix it. When this review appeared online this morning, I ran to my friend's computer to post a comment. The show needs more workshopping, so please don't bring it to my hometown before you do more extensive re-writes. I want to say that the cast was terrific as was the orchestra.

Updated On: 9/4/08 at 10:52 AM

[jordangirl]

Posted: 9/4/08 at 12:21pm

MusicalMan2 ~ I hadn't thought of that possibility. But you're right, it could be read that way as well. :)

Samantha4 ~ I'm just curious what night you saw it. *edit* Went back and read the thread. It changed a lot from the first preview to the frozen show this weekend. As I said earlier, it's still got some rough spots, but everyone who was working on it said it was a totally different show on the weekend than the first preview because of all the changes that have been made.

Updated On: 9/4/08 at 12:21 PM

[tookcharge]

Posted: 9/4/08 at 12:43pm

I was afraid of this.

I'm glad I did not post a review in previews because, having attended opening night, it is an entirely different show. That said, the trimming still didn't go far enough.

The score is beautiful, and the performances are excellent. Jill Paice (Elizabeth) lights up the stage early in act 2 and overwhelms with heartbreak and anger at it's end. Emily Skinner is both funny and fragile. Christiane Noll's (Ruth)voice soars.

Both Jim Stanek (Johm Robert) and Matt Scott (Ace) are great singers. Unfortunately, Jim and Christiane lack chemistry as a couple.

Dalton Harrod (Danny) has shown the most growth in such a short time. His portrayal was from the beginning was natural and real, but lacked depth. While staying genuine, he has become more dimensional. His comedic timing has also improved greatly. He deserved more than an aside in this review.

And Angelina Kelly, if possible, only got better. I wish I could give credit to the woman who told me -- Angelina must be the love child of Patti LuPone and Kristin Chenoweth. She is an amazing talent.

To the problems...
The authors don't seem to realize that their story is NOT about the men - the men are cardboard characters whose short lives are just a backdrop to the women's lives.
As Peter Marks pointed out, there are too many themes/characters. And the characters, excluding the comedic ones, are not likable. An unfit, depressed mother, an angry child, a manipulative, fickle woman(Ruth),and the weakly rendered men -- we need characters to root for.

There is greatness here. Find the core, give fewer characters more depth and start flying again.

[matty159]

Posted: 9/4/08 at 2:09pm

Will they be making more changes after opening night?

Hopefully the torrential rains they are calling for on Saturday from Hanna won't hinder my trek up 95 for the matinee. Despite the shortcomings noted in the reviews, I cannot wait to see it.

[jordangirl]

Posted: 9/4/08 at 8:33pm

Variety liked it.
Variety's review

[BustopherPhantom]

Posted: 9/4/08 at 8:35pm

Aw man. I was hoping they'd chucked that "Make It From Scratch" song.

[jordangirl]

Posted: 9/4/08 at 9:12pm

Why? It's hysterical.

I'm genuinely curious. Unlike some on here I don't mind discussion.

Updated On: 9/4/08 at 09:12 PM

[CATSNYrevival]

Posted: 9/4/08 at 10:24pm

I'm very upset that they cut "Call Me Ace". I hope they find a way to put it back.

[jordangirl]

Posted: 9/4/08 at 10:33pm

I'd think it would be very hard since that really was in the context of everything being in Danny's (well...sorry, in the demo it's Billy) dreams and that aspect is completely gone. Identities are revealed in the packages from his mother. It's a good song, but it really doesn't fit in this incarnation of the show.

[Samantha4]

Posted: 9/5/08 at 9:11am

Some good reviews are in today at:
www.potomacstages.com
www.broadwayworld.com
www.allarts4u.com

The first two say the show needs some work before it considers going to NYC. The third is a rave, but is really one short paragraph comment, not really a review.
James Howard From Broadway World on ACE

[musicalman2]

Posted: 9/5/08 at 9:52am

Even with nice reviews, it appears that the show needs someone at the helm who can shape it drastically. Not sure that Eric Schaeffer is the one. I am glad that there is some positive feedback too, given all the time and effort.

[Samantha4]

Posted: 9/5/08 at 10:08am

Here is Missy Frederick's review of Ace..
DC1st Review of Ace

[massofmen]

Posted: 9/5/08 at 10:19am

none of these reviews matter.
The only one that matters was the Washington Post. Ace was thinking about an extension, and now there seems no way with the post destroying it. I also think it doesn't have a shot of moving to NYC either. How do you get investors when the major paper in DC loathes the show?
I don't understand why Mr. Marks keeps giving signature bad reviews. Maybe he is trying to cover his proverbial behind, after he lauded over Glory Days and it was a huge disaster on Bway. So if he keeps giving shows bad reviews and they move to bway and do badly he will be okay. I dunno.
Ace isn't awful, it isn't great either. I don't think its as bad as Mr. Marks says it is though. I think there is some underlying motive with him now thogh. He loved Jerry Springer and hated Ace? come on.

[Samantha4]

Posted: 9/5/08 at 10:58am

I agree that the Post does matter greatly. I had five friends see Ace last night and they said people left at intermission, and there were many empty seats. How much is attributed to Peter's review, and what the future attendance will be - we'll have to wait and see. At least since Glory Days, I feel his reviews are better. He took the time to describe with specifics why he didn't like Ace. I agree with you that his review may and could influence investors, because, even though there are other websites in the DC area who write reviews, the Post is like the NY Times -it wields a lot of power, and since Peter wrote for the NY Times, he is still respected in the Big Apple theatre community. Another DC website that I read everyday on broadwaystars.com is DC Theatre Scene, so it will be interesting to see what their reviewer has to say. As for Jerry Springer, that production was phenomenal, and received raves and Peter did rave about it and he was right. And it sold out even during the week. I think that if Signature stopped labeling their shows as "Broadway Bound," the critics would be a lot easier on them. And you may be right, Peter and the other critics are being more careful about reviewing these shows since they gave Glory Days a pass. But, in their defense, no critic who wrote a positive review ever thought that it would transfer to a Broadway house. And who knows? With more workshops, Ace could be Broadway worthy.

[somuchtodo]

Posted: 9/5/08 at 4:29pm

I loved ACE! The music is beautiful and the performances were electrifying. Jill Paice is not only beautiful, she sang with such a well of emotion, my heart hurt.



Updated On: 10/21/08 at 04:29 PM

[Samantha4]

Posted: 9/5/08 at 4:42pm

It's Eric Schaeffer, not Peter Marks, who should be embarrassed by the Glory Days disaster. At least Mr. Marks made the trip to NYC to review what he thought was a new and improved production of Glory Days, and what he saw was the same production with no changes that he saw in DC. That was real bright Eric. I know lots of people and critics here who don't like ACE. I know lots of theatre goers and subscribers who don't like the show for the same reasons Peter stated in his review. If Eric wants Peter and others to like his shows, he needs to present quality productions. Even the reviews that were positive stated the show needs work. To use Peter Marks as the scapegoat is so immature. Maybe Eric should have given this assignment to another director like he did with the Visit, which got terrific reviews. That's the business-sometimes they love you and sometimes they don't. Last year's productions except for Witches of Eastwick and The Visit were quite, to be nice, mediocre. It's funny how they quote Mr. Marks when he gives them a good review. And besides, there is plenty to quote from the other reviews that I posted links to today, Grow up guys!

[musicalman2]

Posted: 9/5/08 at 5:03pm

You know, Peter Marks should not be the one attacked here. He gave what I hope was an honest review of the show as he saw it. Nobody in Washington has the right to expect that every time they do a show, it will get raves. The Signature people seem to believe their own hype way too much. Glory Days was an illustration of this. Peter's review of GD was not a rave. A thoughtful reading of the review shows that it was supportive, positive in some respects and negative in others. You can't stop at a review title. YOu have to read the review.

[KChenowethfan]

Posted: 9/5/08 at 7:21pm

I am generally a fan of Signature (though hated Glory Days) but this show was not a standout for me. I saw it last night and there were indeed empty seats, but that is the norm for weeknight performances of most shows around here. The score had moments of brilliance and generally the acting was first rate (especially Angelina Kelly, Christianne Noll, and Jill Paice), but I found the show plodding, too simplistic and heavy handed, and generally not very good. It is fixable though, with a lot of work. Better pacing might alleviate some of the problems and some recasting, cutting of repetitive songs, and cutting some useless sub-plot lines.

Emily Skinner did fine with her material as did the rest of the leads. Some casting was odd (for example, Noll and Stanek as lovers, though their voices did blend nicely-- Noll may have changed her style because she did not sing her entire part "operatically" as a previous poster described, but there was a nice variety suitable to the moment and the score showcasing her versatility which far surpasses some of the versatility of actresses praised around here).

The little boy playing Danny was one note at times, though quite a lot better than the usual kids Signature hires. His singing could have used some improvement, but the acting choices were appropriate. He showed nice chemistry with Angelina Kelly who definitely has a future on the stage.

It was a nice evening out. I won't be seeing it again, but this was no Glory Days. Then again it was no Visit either. That said, I appreciate Signature's willingness to take on newer fresh material.

Updated On: 9/5/08 at 07:21 PM

[musicalman2]

Posted: 9/8/08 at 6:13am

The other major Washington paper has given Ace a generally poor review -- again mostly because of the material.


Washington Times Review

[hockeynut2]

Posted: 9/8/08 at 10:12am

Here is Gary McMillan's review of Ace:

ACE, Signature’s latest premiere (East Coast) musical directed by Eric Shaeffer, is a rambling mix of multigenerational, dysfunctional family saga and Captain Billy’s Whiz Bang heroic fighter pilot flash and dazzle. The production boasts an impressive cast and design team, so rich in performing talent that it must be difficult to identify and make the cuts and changes necessary to keep ACE airborne and on a clear flight path. Instead, the show seems to bounce down the runway, burdened by a cargo of way too much story — despite how interesting the subplots might be — and too few musically compelling moments.

As with another of Signature’s recent musicals, Happy Time, ACE is a period show shouldered by a young performer (here set in the 1950s) . Dalton Harrod plays the 10-year-old Danny, an only child in a single-parent family whose disturbed young mother has a past buried in alcoholism, depression, and mystery. Danny is placed in a foster home following a suicide attempt by his mother Elizabeth (Jill Paice), and he is a bundle of resentment. He isn’t a problem child at heart, he’s just written that way. Harrod has few moments to break through the wall of sadness and anger which imprison his character, but his acting is very engaging in these scenes. Unlike Annie, another child in custodial placement - only she was careless enough to lose both parents - Danny does not get his “Tomorrow” moment, but Harrod does his best to deliver his songs with conviction.

The role itself needs more spunk and less belligerence (Annie, Huckleberry Finn, Mame and Paper Moon take pains to make the child lead abundantly sympathetic).

So how do a social worker (Florence Lacey as Mrs. Crandall) and the foster parents (Duke Lafoon and Emily Skinner as Edward and Louise) solve a problem like Danny? We soon learn that Elizabeth’s recovery is the key to Danny’s self-understanding. To unravel Elizabeth’s secret, the show spans half a century (encompassing both World Wars), taking place in three time periods and across several geographic locations, U.S. and abroad. It doesn’t boast the largest cast seen locally in recent musicals, but the story develops seven primary relationships (couples, adult-child, child-child), a few secondary relationships, and introduces a passel of characters instrumental to the narrative. That’s not to say that the story is too complicated to follow, but as Officer Lockstock sagely remarks in Urinetown, “You’re too young to understand it now, but nothing can kill a show like too much exposition.” And too much story can so fragment a show into bits and pieces of exposition that it becomes difficult to satisfyingly set the whole music. For example, following the delightful overture, it is nearly thirty minutes into the first act before a fully-realized, full-bodied show song is performed. Moreover, the show is not sung through, so it is puzzling why some fragments are in song and others not.

The deep back story behind Danny’s mysterious family tree traces back to his paternal grandparents. Grandmother Ruth (Christiane Noll) is a maverick, unconventional and thrill-seeking, who forsakes a safe marriage for pioneer fighter pilot John Robert (Jim Stanek).

If the cast names are beginning to sound familiar, you probably have a good number of Broadway cast recordings. As we witness Ruth’s highs and her lows, her mania for risk-taking and passion for heroism, the word bipolar comes to mind. Widowed and pregnant, we flash forward through the years as Ruth attempts to keep John Robert alive in their son, prophetically and prescriptively nicknamed Ace.

However, the adult Ace (Matthew Scott) has a vision for his future all his own. His first meeting with Elizabeth as college freshmen is told through “I Know It Can Be Done,” a delightful duet for the likeable, ambitious pair. Karma Camp’s choreography for the duo is full of lighthearted fun. Fast forward again, and we see Ace leaving his new bride to go to war as did his father.

The pieces of Danny’s family puzzle unfold as Elizabeth comes to grips with her loss and begins to collect scraps from the past to salvage the memory of Danny’s father. These are passed on to Danny through his case worker, Mrs. Crandall/ Interspersed among the domestic scenes are episodes of military male bonding, air strikes and aerial dogfights, perhaps the best of these moments captured in The Right Stuff-inspired anthem, “We’re the Only Ones.”

There are two gems in the production firmly planted on terra firm which are over the moon musical comedy moments. Danny gets a little R&R escape from his troubles when fellow schoolyard outcast, Emily (Angelina Kelly), who doesn’t take no or go away for an answer, resolves to be his friend. Her rendition of the “Now I’m on Your Case” is designed to charm and amuse and it does both in spades. There is a Nancy Drew- girl detective show just waiting to be written for Kelly. Second, as nervous foster mom Louise, Emily Skinner walks a mile in Barbara Billingsley, Jane Wyatt and Donna Reed’s pumps. “Make It from Scratch” comically captures her anxiety in a perfectly pitched performance.

Walt Spangler has created a visually striking set which dominates the stage with twin steel towers and central diamond platform which turn and tilt and rise to support the action. The lighting design by Ken Billington and Jason Kantrowitz washes the set in color to set the proper mood; and the project design by Michael Clark has the audience floating among the clouds from the show’s outset. The sets serve the aviation theme best but undercut the domestic scenes. A metal slab does conjure up a boy’s bed. The aircraft inspired towers help suggest a house or home; it is more than a little disconcerting to watch characters enter and exit scenes through doors more akin to airplane cabin doors or the pressurized hatches between submarine compartments. Fortunately, Robert Perdziola’s costumes work overtime to evoke the period for both the adults and children.

ACE is a show which clearly has captured the imagination of leading regional theatres around the country from its lauded premier at the Festival of New Musicals in 2005, to productions in the Fall of 2006 at Repertory Theatre in St. Louis and Cincinnati Playhouse in the Park, a 2007 run at the Old Globe Theatre in San Diego, and now a restaging at Signature. If this were Lindberg’s flight, I’d say it was more than half way across the Atlantic with a good tailwind. The current incarnation has some perplexing loose ends, e.g., a womanizing WWI cad and bully later appears as a priest (and it’s not a case of cast member covering two roles), and Elizabeth’s ten-year long breakdown is glossed over. Also, there is a disconnect between the moral of the story and the details (the devilish details), specifically when the spirit of Ace urges his son Danny to “Choose to Fly.” The “follow your heart” metaphor of “flying” (whether in actual flight or in pursuing some other dream) is a bit of a problem when sung by a character who found his true calling by subjugating his desires to his mother’s ambitions for him. Some plot doctoring is needed to make the sentiment convincing unless a “Listen to Your Mother” ballad replaces the song. Let’s hope the doctor is in and that this often engaging show continues to get the attention it deserves.

Ace Reviewed by Gary McMillan on DC Theatre Scene

[Samantha4]

Posted: 9/8/08 at 10:17pm

Talkin' Broadway's Susan Berlin on ACE:

Ace, the new musical receiving its East Coast premiere at Signature Theatre in Arlington, Virginia, is obviously still a work in progress: the song list is in a state of flux, and apparently the title character used to have a lot more to do than he does now. Still, the piece has a lot of promise as well as some structural difficulties. (Start by changing the title to "In These Skies," after the song that serves as an anthem for the show.)

The musical by Robert Taylor and Richard Oberacker (book and lyrics), with music by Oberacker, uses the literal act of flight as a metaphor for discovery and creativity. In early 1950s St. Louis, as costumed by Robert Perdziola in a palette of gray, black, and white, 10-year-old Danny Lucas (Dalton Harrod) is the sullen, defensive child of Elizabeth (Jill Paice), an emotionally fragile single mother. When circumstances force Danny to move into a foster home, his mother sends him gifts to help him discover the family history she had never shared with him.

The strictly linear, schematic structure of Ace is a handicap. Each of Elizabeth's packages and instructions—seek out this person, read this letter, find out what is special about this model airplane—is, quite literally, part of a "by the numbers" approach to storytelling. Although the scenes do come to life onstage, they do so with more telling and less showing than one might wish for in a musical. Director Eric Schaeffer is hemmed in here by the material.

Harrod is the emotional center of the production, and he gives a performance with poise and charm beyond his years. Paice eventually gets a chance to show more sides of her character than the distraught woman of the early scenes, and Jim Stanek radiates conviction as the hero of one of Elizabeth's stories. Angelina Kelly is fun as an outcast girl who befriends Danny, and Emily Skinner gives a warm-hearted performance as Danny's foster mother, trying her best to master parenthood with little practice, but they are still peripheral characters and their songs have little to do with the main plot.

Walt Spangler's scenic design uses abstract, free-standing metallic structures to continue the aviation theme, although they do give an austere, rigid look to the domestic scenes. Michael Clark's projections provide a more literal view of flight.


Susan Berlin on ACE

[CATSNYrevival]

Posted: 9/8/08 at 10:24pm

(Start by changing the title to "In These Skies," after the song that serves as an anthem for the show.)

Yikes. Please don't change the title. There's been too much of that lately. And never for the better. The Beautiful Game to The Boys in the Photograph? Bounce to Road Show? WTF??? Keep Ace! It's the one thing that works! It's marketable. (And put "Call Me Ace" back in. Good God.)

[Gloryday225]

Posted: 9/10/08 at 3:25pm

It's probably not a good sign that I had to go back 6 pages to find this thread, but:

I asked if anyone was interested in a Sept. 6 ticket a while back- no one answered, but because of the storm Signature let me exchange my ticket for a later date. SO- if anyone is interested in a ticket for Sept. 28 at 8pm (the final performance) please PM me. And if you hear of anyone who would like to see the show, direct them to me! Slightly deperate over here in case you didn't notice.

Thanks :)

[massofmen]

Posted: 9/10/08 at 5:32pm

i still think "the happy time" was the best show that The Signature theater offered this season. It was the one that garnered the most positive reviews out of all their shows but is completely under appreceaited being smushed in between the high profile Spider Woman and the Visit.
Its too bad it didn't get more press, or more communication about it on the boards.