It's a very good production of a show that isn't necessarily good, in my opinion. It just has zero dramatic tension and is sort of watching a car wreck in reverse for two hours.
That being said, the score sounds magnificent and all the performances are wonderful. There were some weird sound issues tonight, though- some mic issues, sounded like feedback?
Colin Donnell is fantastic, as is Celia Keenan-Bolger. Lin-Manuel was my least favorite of the central trio, though that's not to say he's not good.
Elizabeth Stanley looks and sounds gorgeous and Betsy Wolfe nails "Not A Day Goes By".
The use of the giant screen was actually very effective. It helped to fill in the gaps between the time-leaps, with photos and news clippings of the central characters. It also very quickly establishes time and place.
I really think it's as good as a production of this show is likely to get. Even with the excellent cast and the orchestra and deft direction from Lapine, there's just something missing from the show as a whole.
"...everyone finally shut up, and the audience could enjoy the beginning of the Anatevka Pogram in peace."
I would expect a transfer if the critics crow which I expect they will.. Except for a a number of plot bromides in the first act, the show is a joy. Definitely a Sondheim. His stamp of cynicism or irony certainly.
There was a lot to like tonight. Loved Donnell and Keenan-Bolger. Celia in particular nailed the book scenes and had a wonderfully formed character.
The orchestra seemed especially wonderful tonight, even by Encores standards.
I've always been a fan of Elizabeth Stanley, and thought she gave Gussie a lot of gusto. Adam Grupper was an excellent Joe too.
Unlike ljay I wasn't as won over by Lin. I thought he was fine, but not outstanding like the other leads. His singing voice is weak, and it doesn't help that Charley is least developed of the three leads.
I do agree that this did not feel like an Encores, but rather a first preview of a Broadway run. These presentations are so staged and rehearsed that it's hard not to judge them on the same level that one would judge a Broadway production.
Marie: Don't be in such a hurry about that pretty little chippy in Frisco.
Tony: Eh, she's a no chip!
It was my first time seeing the show live (have loved the score for years) and I was surprised at much I enjoyed the book scenes, especially in act 1. I actually found Mary to be the least developed of the leads. And I was shocked at how juicy of a role Gussie is!
I do agree that this did not feel like an Encores, but rather a first preview of a Broadway run. These presentations are so staged and rehearsed that it's hard not to judge them on the same level that one would judge a Broadway production.
TOTALLY agree. At times, I felt like it was staged and designed for a Roundabout transfer. As we know, Roundabout has been talking about doing a revival for many years...... I would just hate to lose the newly added strings to the orchestra.
Kad- I cringed at the projections for about 15 seconds and then really, really liked them. Like you said, they were very effective in moving the time backwards, and it was fun to see the cast in the pictures. I bet it was a fun photo shoot!
ljay- It was my first time seeing the show too. I actually thought the book was pretty terrific. Mary may have been a little less developed on paper, but Celia certainly developed her through her masterful characterization. Damn she is good.
I was also surprised at the size of Gussie's role. The OBCR would barely let you think she was in the show! I did feel she was developed at the expensive of Mary and Charley though.
Marie: Don't be in such a hurry about that pretty little chippy in Frisco.
Tony: Eh, she's a no chip!
The OBCR would barely let you think she was in the show!
I know!! If the show does transfer, I think Stanley would be destined for a Tony nomination. She is that good.
Betsy Wolfe is also great, but in contrast with Gussie, I was surprised that Beth isn't a larger role. That was always my assumption about the two roles before seeing the show.
I was in Row G in the second mezz, on house right, and could see everything perfectly. Although if you have vertigo.. don't sit up there.
The first minute or two of the projections were particularly cheesy- the audience laughed at that clip art Sputnik meandering across the screen. But then it found its footing and was very effective.
"...everyone finally shut up, and the audience could enjoy the beginning of the Anatevka Pogram in peace."
Gussie felt like the sure-fire "Supporting Actress in a Musical Tony" role. Beth was much more of a throwaway role, despite the fact that she gets to sing a lot of material. I shared you assumption that based on the recording Beth had the larger/more interesting role.
Marie: Don't be in such a hurry about that pretty little chippy in Frisco.
Tony: Eh, she's a no chip!
The role of Gussie was significantly expanded when Michelle Pawk played her in the 1994 production at the York.
While I found this to be a very strong incarnation of the show (though I found Keenan-Bolger and Miranda to be very inappropriate vocally,) don't expect it to transfer. MERRILY isn't a commercial show, and it never will be. Where's the audience for it, particularly with these people involved? Roundabout talked about doing a production with James Lapine for four years, and this production is happening at Encores specifically because they passed on ultimately committing to it. If they were going to do the show, they would have done it themselves when they were actively developing it.
There's nothing shameful about a strong two weeks at City Center, and that's exactly what this production will be. Let it be that.
Tonya Pinkins: Then we had a "Lot's Wife" last June that was my personal favorite. I'm still trying to get them to let me sing it at some performance where we get to sing an excerpt that's gone.
Tony Kushner: You can sing it at my funeral.
I'm going to have to be cynical and say that no matter how well the show is received by the critics this production won't transfer. It's too risky and the show has very little commercial appeal. That's why it's being done at encores.
ljay, beyond Peters, FOLLIES is regarded as a much stronger show than MERRILY ever will be, and it's certainly a much easier sell. Even as good as this version is, the central problems with the show (and the narrative device) will always be what makes it uncommercial. That's precisely why it's being done at Encores.
Tonya Pinkins: Then we had a "Lot's Wife" last June that was my personal favorite. I'm still trying to get them to let me sing it at some performance where we get to sing an excerpt that's gone.
Tony Kushner: You can sing it at my funeral.
Whatever prospects this has off a transfer, they are almost guaranteed to be a zero with Roundabout, which has another musical to worry about producing for the fall.
Marie: Don't be in such a hurry about that pretty little chippy in Frisco.
Tony: Eh, she's a no chip!
I am so happy to hear about the good buzz on this production but so wish I were able to see it. I really hope Stanley gets a great critical reception. I have been a fan of hers for years and think it's finally time for her to be a bit more in the spotlight, at least with critics.
"Art, in itself, is an attempt to bring order out of chaos."-Stephen Sondheim
It really did feel much shorter. Act 1 zipped right along. It felt like forty minutes, tops, but was probably close to 70, I suppose. The pacing is fantastic for the whole show.
I don't think we'll see a transfer of this, honestly, unless it's through a subscriber-based theatre company like Lincoln Center or Roundabout. Which doesn't seem likely. Producers don't want to get burned again, like they did on Finian's Rainbow, and Merrily is not a name that will draw people in.
"...everyone finally shut up, and the audience could enjoy the beginning of the Anatevka Pogram in peace."
Another thing: I am really glad/relieved that they are using the "applause version" of NOT A DAY GOES BY. This version can be heard on the Leicester and Off-Broadway recordings. Some productions (Kennedy Center and West End) have used a version without the big flourishing ending that leads right into dialogue.