There were very helpful and vital changes made to the material -especially the score - after it played in Chicago. Galati's production at Signature VA. was streamlined, clarified and improved from the cluttered Goodman staging. Also, George Hearn was up to the vocal demands of the score in ways that the wonderful John McMartin couldn't accomplish and additional material was added for Hearn. It's still a strange, dark, disturbing, uncompromising piece, but judging it by the Goodman version alone does not reflect what the creative team did with it in the intervening years. At Signature, I was completely gripped by it and would love to see it have a future life, either commerically or in the non-profits in NY, or in London, where I think it would fare quite well.
Begin at the beginning and go on till you come to the end: then stop.
I have been hoping for a New York version of this show since seeing the wonderful Signature production. Both Cheets and Hearn (and the whole cast) were excellent. Personally I am frustrated that certain shows (musicals) have appeared on Broadway that haven't A leg to stand on next to this show. A SCOTTSBORO comparision is not that crucial to me because there is no social controversy involved, unless one-legged people get all up in arms. I have talked to several members of that cast and they keep hearing that there will be a reading/benefit type performance, perhaps for the ACTOR'S FUND, but unfortunately, so far, there is no definite plan.
This is one show that should be done while Rivera and Hearn are still kicking!
The Goodman production in Chicago was dark and thrilling. The design was brilliant and left many images in my mind ten years later. Chita Rivera sitting on the second story hotel balcony her hands resting on top of her cane watching the townspeople on the street below argue and fight. I can't wait to see it again on Broadway.
"Somebody in New York will see this show on Wednesday {The 30th of November; the concert}, we believe in it.."
"And I hope that New York welcomes it. And they want to see it, because we desperately need what we do best - and that's an original American musical. Nobody does it better than we do. Nobody does it better than Kander and Ebb..so you feel you have some power behind you"
It probably isn't that insightful because assumably everyone wants to take their roles and shows as far as they can go. But still, it is interesting to hear explicitly that at least someone wants it to happen..
"You can't overrate Bernadette Peters. She is such a genius. There's a moment in "Too Many Mornings" and Bernadette doing 'I wore green the last time' - It's a voice that is just already given up - it is so sorrowful. Tragic. You can see from that moment the show is going to be headed into such dark territory and it hinges on this tiny throwaway moment of the voice." - Ben Brantley (2022)
"Bernadette's whole, stunning performance [as Rose in Gypsy] galvanized the actors capable of letting loose with her. Bernadette's Rose did take its rightful place, but too late, and unseen by too many who should have seen it" Arthur Laurents (2009)
"Sondheim's own favorite star performances? [Bernadette] Peters in ''Sunday in the Park,'' Lansbury in ''Sweeney Todd'' and ''obviously, Ethel was thrilling in 'Gypsy.'' Nytimes, 2000
I still find this fascinating (and I prefer my Kander and Ebb daker rather than stuff like Curtains anyway), although from only hering a poor recording, it does sound like it needs more work. Someone in this thread mentioned that the Signature production had new music--who did the lyrics?
And to add to the argument of Chita always saying the show will come next year, here's video of her performing a song from it (Love and Love Alone) on some cruise, where she pretty clearly says that they "hope and pray that they will manage" to get it on next year... So it's not like she was making full on promises.
While not perfect, I do like the score overall more than Scotsboro Boys (which I do like... don't get me wrong). Love and Love Alone is kinda Chita's character's big 11 O'Clock number.
I wonder if they've ever considered giving it a somewhat happy ending, the way the movie version of the play in the 60s did. I'd find it a sell out, but I could see some producers thinking that would make it more commercial. (According to Wikipedia there was a TV movie reuniting the cast of The Loves of Dobie Gillis in the 80s which was also based on The Visit which I just find... bizarre).
Spealing of dead K&E projects--have they finally given up on Skin of our Teeth/Over and Over? I know the last regional production basically seemed to get the reaction that there just wasn't enough there to work with.
Yesterday, I posted, on the ON A CLEAR DAY thread that no one should ever listen to my opinion of a new musical, because my tastes are simply out of sync with the current universe (audiences and critics). If this is so, then ON A CLEAR DAY, a troubled highly imperfect show but a vast improvement IMHO on the original libretto (if it has entirely lost the original's star vehicle magnetism), will close in a day and THE VISIT, which I found only as dark as it would have to be given the plot it has always had but not at all thrilling, on the contrary, a complete bore, just might be a huge hit.
Of course there's always the chance that, as tgrabon2 points out, the show has much improved since when I saw it at the Goodman, which means that I personally might enjoy it a great deal more, but it may not mean much for the show's chance of success.
(as I've often stated, it's intolerable being tolerated)
For what it's worth, I followed the show fairly closely at the Goodman and at Signature, while never actually seeing it--but fan and critical reaction *was* much much better at Signature, so it sounds like it has been improved. If that's enough, is a different subject...
I love that BK's sarcastic comment RE: when Chita announces it in 2014 we can "all get excited again" is now basically true (admittedly it's not Chita that has announced it).
"You can't overrate Bernadette Peters. She is such a genius. There's a moment in "Too Many Mornings" and Bernadette doing 'I wore green the last time' - It's a voice that is just already given up - it is so sorrowful. Tragic. You can see from that moment the show is going to be headed into such dark territory and it hinges on this tiny throwaway moment of the voice." - Ben Brantley (2022)
"Bernadette's whole, stunning performance [as Rose in Gypsy] galvanized the actors capable of letting loose with her. Bernadette's Rose did take its rightful place, but too late, and unseen by too many who should have seen it" Arthur Laurents (2009)
"Sondheim's own favorite star performances? [Bernadette] Peters in ''Sunday in the Park,'' Lansbury in ''Sweeney Todd'' and ''obviously, Ethel was thrilling in 'Gypsy.'' Nytimes, 2000