WAITRESS at A.R.T. Thread- Page 5

[VernonGersch]

Posted: 8/10/15 at 2:44am

that font?  i can't with that font.

[Auggie27]

Posted: 8/10/15 at 9:06am

"I hate this idea that if you don't walk out singing a song, then it's a bad score. C'mon. If it's a sophisticated score, it's complex."

I heartily agree, and have for decades. It still surprises me that musical theater is expected to provide instant top 40 access.  I can name 5 or 6 shows in the past decade alone -- most people here can -- that didn't meet this expectation, all of which offered stunning music to savor with multiple hearings.   

[NJ_BroadwayGirl]

Posted: 8/10/15 at 11:26am

I saw Waitress on Thursday night on a detour for a wedding weekend in RI. I think it was the fourth performance and overall, I really enjoyed it. 

I want to agree with what has been said about the score - you don't need to walk out a theatre humming along! This score has a few catchy songs but its strength lies in the dramatic ballads. Though the final number of Act I is upbeat and great. In general, yes it needs some work, but the score is lovely with lots of Bareilles signature poppy piano, clapping ... and her ballads will slay you. Like others have said, I think the first act runs long and the second act is rushed. There's some ensemble scenes that feel a little bit like filler in the first act that I could really see getting ditched. There are pacing issues and some songs will likely be fine tuned and cut. 

The book is remarkably close to the movie, though they actually fleshed out the storylines for the other two waitresses more. That's necessary, but it does add to the increased length. There were some scenes, and dialogue that were almost identical - which is great because the film is delightful. They've added some more humor to the musical which is necessary and well placed. 

Jessie Mueller is excellent in this production. Her talent as an actress comes through and she does an awful lot of heavy lifting. She's on stage constantly and has to sing with a wide range of emotions, including deep despair in the painful "She Used to Be Mine," which is a gorgeous song, and "giving birth"! It's not a one-woman show, but you can tell she is working hard on this role and she will be critical to its success going forward.

I was pleasantly surprised by the male actors but overall Mueller, Settle and DeWaal are clearly the high level talent. Assuming it makes a Broadway transfer, it will be interesting to see what other cast members get to come along. 

After the show, I noticed Diane Paulus sitting in the back row of the theater giving notes to several others around her on laptops. I don't think Bareilles was even in the house that night.  I waited, with a lot of other people, in the lobby to see who would come out. All but Jessie Mueller came out and signed. I can see this being an exhausting process for her and she is probably getting notes, etc. 

I'm a Bareilles, Mueller and Waitress movie fan so clearly predisposed to like this. Though it had a lot of problems with pacing and was rushed, I actually liked the second act more because I knew what was coming in the story and was looking forward to seeing it come to life on stage. Overall it needs work, but the book, score and source material are all solid so I think it's totally fixable and we'll see it on Broadway.

[NJ_BroadwayGirl]

Posted: 8/10/15 at 11:29am

By the way, not sure if it's already been posted but A.R.T. has published the program online: http://issuu.com/americanrep/docs/waitress_program

[shanphelia]

Posted: 8/10/15 at 9:10pm

I saw the show twice over the weekend (Fri and Sat night), and liked it, but for some reason liked it quite a bit more on Saturday, even though the changes between the two days were minor.  I think that I had warmed up more to the whole approach, and songs that had been catchy after one viewing became VERY catchy after two.

The performers in the show were all quite strong, and really worked with what they had.  Jessie was touching and complex, and I thought Drew Gehling brought a lot of charm and warmth to his character opposite her. 

I found some songs extremely memorable and catchy (It Only Takes a Taste, Bad Idea, I Didn't Plan It), while a few others I thought could be cut or reworked (I personally found that 'Door Number Three' didn't move the story forward much and I didn't love it as a song; 'You Matter to Me' in act 2 was a sweet song but suffered from its placement after Jessie's tour-de-force in "She Used to be Mine.")  The songs for Dawn and Ogie (and also for Joe) were sweet but seemed almost to belong to another musical; I'd like to see them blended in a bit more, but not sure how? I'll leave that to the experts :)

The one big issue I had with the show was the characterization of her husband, Earl. Between the two nights, the show's view of him shifted some -- is he an oaf with some bad days? An all out ogre?  If the latter, how are we meant to feel about the rest of the characters who let him drag his pregnant wife away from an event, clearly very angry and threatening?  (I have not seen the movie, so this may be a problem that has carried over?)  The actor playing Earl has a great number in act 1 that shows some of his past, but audience was a little uncomfortable at the end of it Saturday night, unsure how we could applaud the great performance but not the character's treatment of his wife.

All in all, I was happy to have gone twice. I cried both times, and many songs keep bubbling up in my head.  The three lead actresses were all great, and I love a show that allows for different types of happy endings.

Updated On: 8/10/15 at 09:10 PM

[Jarethan]

Posted: 8/10/15 at 10:31pm

"I took a class with a casting director and one of the girls sang a song from this and i loved it. 
I hate this idea that if you don't walk out singing a song, then it's a bad score. C'mon. If it's a sophisticated score, it's complex. You can hear a One Direction song once and probably sing the melody back to me. IThat doesn't make it a great song. "

I am not saying that it is a bad score because I couldn't hum the songs.  I felt there was a certain sameness to the songs ON FIRST HEARING.  None stood out to me except possibly She Used to Be Mine.  I did like other songs...there just seemed to me to be a sameness, however.  

I also thought the staging of Settle's big song was problematic.  That should have been a showstopper, but it ended so abruptly that the audience barely applauded what sounded like a good song and a terrific performance of it.  

Despite these quibbles, I had a smile on my face for the entire show, and really enjoyed it. I think an already very good show could be better with if a few 'same sounding' songs were replaced.

[NJ_BroadwayGirl]

Posted: 8/11/15 at 9:58am

"The one big issue I had with the show was the characterization of her husband, Earl. Between the two nights, the show's view of him shifted some -- is he an oaf with some bad days? An all out ogre?  If the latter, how are we meant to feel about the rest of the characters who let him drag his pregnant wife away from an event, clearly very angry and threatening?  (I have not seen the movie, so this may be a problem that has carried over?)  The actor playing Earl has a great number in act 1 that shows some of his past, but audience was a little uncomfortable at the end of it Saturday night, unsure how we could applaud the great performance but not the character's treatment of his wife."

This is such a great point. I totally agree with you that this character issue needs to be worked out. In Act I at times we are a bit amused by him - like you said, an oaf with bad days - but then he really proves himself to be a horrible, horrible person. I think the running theme of concern that Jenna will love the baby more than him really sets up that he is seriously possessive, abusive and that things aren't going to end well. Her inability to flat out leave him is handled well, she's in an abusive relationship and feels trapped without any financial means to leave. 

Maybe it's okay that we go from thinking Earl is just kind of a has-been jerk to realizing he's really awful. Maybe we're supposed to be coming to that complete realization along with Jenna. 

Not sure about anyone else but at curtain call when I saw it a few people "booed" Earl and the actor encouraged it and laughed. 

[fashionguru_23]

Posted: 8/11/15 at 11:13am

"If it's a Nederlander house, then the Brooks Atkinson Theatre would be a safe bet."

The press release for Spring Awakening says thay there is no option for an extension. So, maybe its already booked with Waitress?

 

[NJ_BroadwayGirl]

Posted: 8/11/15 at 11:29am

I suggested that Waitress could be going into the Brooks Atkinson a couple of weeks ago and I wouldn't be surprised.  I know it doesn't mean much but I got a very positive, but naturally noncommittal, response from Keala Settle when I talked about hoping to see them in NY soon. 

It was questioned earlier and I actually DO think Jessie Mueller is a reasonable draw at least within the general Broadway fanbase - and she's easy to promote as a Tony winner. I don't think she would have signed on without knowing there was the expectation of a transfer. And I think Bareilles is proving to be a big, big draw already in Cambridge.

[Jeffrey Karasarides]

Posted: 8/11/15 at 11:45am

Well, as we've seen in the past, having a pop/rock composer doing the score for a musical rarely ever sells tickets.

 

Sting flopped with The Last Ship, Phil Collins flopped with Tarzan, Dolly Parton flopped with 9 to 5, Paul Simon flopped with The Capeman, Elton John flopped with Lestat, Bono & the Edge flopped with Spider-Man, Boy George flopped with Taboo, Harry Connick, Jr. with Thou Shalt Not, etc.

 

Though we've had some successful ones such as Elton John with Aida and Billy Elliot, Cyndi Lauper with Kinky Boots, Burt Bacharach with Promises, Promises, etc.

Updated On: 8/11/15 at 11:45 AM

[RW3]

Posted: 8/11/15 at 12:04pm

"I suggested that Waitress could be going into the Brooks Atkinson a couple of weeks ago and I wouldn't be surprised.  I know it doesn't mean much but I got a very positive, but naturally noncommittal, response from Keala Settle when I talked about hoping to see them in NY soon. 

 

It was questioned earlier and I actually DO think Jessie Mueller is a reasonable draw at least within the general Broadway fanbase - and she's easy to promote as a Tony winner. I don't think she would have signed on without knowing there was the expectation of a transfer. And I think Bareilles is proving to be a big, big draw already in Cambridge.

It makes sense at least for Keala to have given you a noncomittal answer. She was supposed to be doing Jekyll and Hyde in Australia in the Winter but that has since been postponed.

 

 

 

[NJ_BroadwayGirl]

Posted: 8/11/15 at 12:14pm

As for the pop/rock composer selling tickets - all I know is I heard many people, adults and teenage girls alike, who said they were there because they love the composer. Perhaps the younger audience appeal will help - teens asking their parents to take them. I'm a regular theatre-goer and was interested in the show and many cast members, but I don't know if I would have rearranged my travel plans from NJ to RI to include a night in Boston if Bareilles wasn't involved.

I should clarify, Keala's response to me was actually very positive and the person next to me (a stranger) and I both interpreted it as a "yes but I'm not allowed to say yes" response. Again, I know you can't read that much into it but it certainly wasn't a "yeah we'll see."

[shanphelia]

Posted: 8/11/15 at 12:32pm

"As for the pop/rock composer selling tickets - all I know is I heard many people, adults and teenage girls alike, who said they were there because they love the composer. Perhaps the younger audience appeal will help - teens asking their parents to take them. "

On Friday and Saturday nights, there was definitely a strong element of teens (girls mostly) bringing their parents bc of the composer. I heard a lot of discussion between teens and parents discussing this while waiting at stage door.

 

On the other hand, one half a middle aged couple sitting behind us Saturday night complained after almost every song and left at intermission.  

 

Support from younger audiences can keep enthusiasm going for a show, but they may rely on parental funds or on cheaper tickets.  It would be important for the show to be able to also catch eye & wallets of multiple theatre-goers who are comfortable paying full price. I do think the show has this potential!

Updated On: 8/11/15 at 12:32 PM

[CoreyRyan3]

Posted: 8/11/15 at 12:39pm

"I hate this idea that if you don't walk out singing a song, then it's a bad score. C'mon. If it's a sophisticated score, it's complex. You can hear a One Direction song once and probably sing the melody back to me. That doesn't make it a great song. "

 

YES! Thank you! 

And actually, I saw this show twice this past weekend, once on Friday night and again at the Sunday matinee, and I will say, the first night, I couldn't really recall any melodies except for "She Used to Be Mine", because I have watched the videos from Sara's concert many times. But after leaving the theatre the second time, I was singing at least 5 different songs from the score in my head, including "Opening Up", "She Used to Be Mine", "Never Getting Rid of Me", "When He Sees Me", "Bad Idea", and "Take if From and Old Man".

So on second listen, the songs stuck with me far better, they're just a tad harmonically and melodically sophisticated. 

[NJ_BroadwayGirl]

Posted: 8/11/15 at 12:41pm

"Support from younger audiences can keep enthusiasm going for a show, but they may rely on parental funds or on cheaper tickets.  It would be important for the show to be able to also catch eye & wallets of multiple theatre-goers who are comfortable paying full price. I do think the show has this potential!"

I agree with this. I think Bareilles' name could give it an early boost through these kind of sales but sustained success will require more than that. I do think she has a broader fan base than just young people though. I'm in my early 30s and have been a very big fan of her music since before the recent surge in popularity and I heard people my age in the crowd saying they were fans.

Interesting, but not surprising, about the middle-aged couple that left. While we don't know if they were subscribers, It's always a toss-up when you have a subscriber base viewing the show during its tryout process. You'll have some people who are attending as part of their ticket package and not because they chose the show specifically. 

I hope people give this show a shot. It's a beautiful story about the messy side of life and learning to listen to your heart and dreams no matter how broken you may be or how far gone they seem. 

[CoreyRyan3]

Posted: 8/11/15 at 1:07pm

And now, to give my thoughts on the show. 

The first night I saw it, Friday night, I enjoyed it. But I really loved it when I saw it again Sunday afternoon. I thought it was cute and charming and that Jessie Mueller was great (she really stops the show with "She Used to Be Mine". Without her walking off the stage at the end of that number, I believe the applause would've continued for about 30 seconds, realistically) as Jenna. I think there are very few things she can't do and I think she is a perfect fit for this role, vocally, type-wise, and everything. 

The other scene-stealer in the show, for me, was Keala Settle. Her character is pretty static in act 1, and I wish they would maybe hint at the relationship between her and Cal a little earlier, because when that storyline was introduced (at the beginning of act 2), it seemed pretty rushed, and then all of a sudden she is singing a song about it. But if they work on her character a little bit more in the book, this is a Tony-nomination for her, I believe. She gets all the funny one-liners which she delivers perfectly and she has a fantastic song midway through Act 2, that with the lack of a true ending or button, doesn't get the sort of applause it deserves. That needs to be addressed. 

Drew Gehlig and Jeremy Morse are also great and in fantastic voice. 

My problems arise with the husband, Earl's scenes. Every time there is a scene with Jenna and her husband at home, it sort of falls flat and leaves me wanting more. I'm not exactly sure how they can make it work, but I believe they can. 

The score is really great, with only about 2 numbers falling flat for me. Each time I saw the show, I didn't care much for the "Door Number Three" song. I think it needs to be replaced, maybe? And also, the song "I Love You like a Table" is cute, and I liked it more on my second listen, but it still isn't quite working for me. I think it can probably be much funnier.

I enjoyed the show and score much more listening through it a second time and I can't wait to get a recording of the music.

I think it's a good show in good shape that will be even better when they address some of these problems. Can't wait to see where it goes and how it grows from here.

Updated On: 8/11/15 at 01:07 PM

[dramamama611]

Posted: 8/11/15 at 5:46pm

My local news is doing a couple of spots on Waitress and Bareilles.  I'll try to record them on my phone and post them here...but I'm pretty stupid at how to do that!

[Broadwayluva]

Posted: 8/11/15 at 5:54pm

Sorry if I missed this before but what is the running time of the show?

[David2]

Posted: 8/11/15 at 8:09pm

The running time is about 2.5 hours 

[downhillskier]

Posted: 8/11/15 at 10:31pm

I saw it on the 3rd night of previews. Interesting about the comments regarding age and draw.  I was excited about it due to the combination of Sara and Jesse.  I enjoyed it and thought it was a great girls' nite out at the thearter. I don't believe it lived up to my expectations, Maybe they were too high.

I had purchased tickets prior to seeing it for another viewing on its' closing weekend. It will be interesting to see the changes and what my middle aged suburban husband thinks of it. I don't really see it as overly appealing to his demographic.

Interesting enough, I attended with my Mom who is in her 80's. She smiled throughout. She said it was great and thought the music was terrific! 

We discussed how early in previews we were seeing it. I thought the production overall seemed quite tight and polished considering it was only the 3rd show. She said, " I don't see that they need to do anything to it, I can't imagine  what else they could do to it to improve it." Very interesting, since I find her and her friends can be quite critical of different musical  thearter productions, though we usually do like the same things. She is very hip for her age.  It will be interesting to hear her comments next week regarding the kinky boots tour in comparison!

[dramamama611]

Posted: 8/12/15 at 4:28pm

Here is the interview with Bareilles that a local Boston station did for Waitress.  Some clips of the show itself.  There is a second edit that also had Paulus interviewed which aired earlier in the day, with different clips of Bareilles....but I can't find it!

http://boston.cbslocal.com/2015/08/11/sara-bareilles-excited-for-first-musical-waitress-at-american-repertory-theatre/

PS.....it turns out I'll be at opening night.  Strangely enough, we had purchased a Preview Subscription which is cheaper, but they must have moved opening night!  Not sure how big of a deal it is in Boston, but I've never been to a professional opening night. 

 

[grayarea]

Posted: 8/12/15 at 5:14pm

DId you mean this video?

http://boston.cbslocal.com/video/3280203-waitress-written-by-singer-sara-bareilles-receiving-rave-reviews/

[dramamama611]

Posted: 8/12/15 at 5:23pm

"DId you mean this video?

 

http://boston.cbslocal.com/video/3280203-waitress-written-by-singer-sara-bareilles-receiving-rave-reviews/

 

"

Yes!  And so continues my failure in search features everywhere.  Thank you.

[grayarea]

Posted: 8/12/15 at 5:52pm

Didn't see this posted yet but Waitress was also featured on WGBH - Open Studio over the weekend (it's the first feature starting around the 1:00 mark). Paulus, Bareilles and Mueller were interviewed for this one.

http://video.wgbh.org/viralplayer/2365542222/

[Jarethan]

Posted: 8/12/15 at 8:14pm

"Well, as we've seen in the past, having a pop/rock composer doing the score for a musical rarely ever sells tickets.

 

 

 

Sting flopped with The Last Ship, Phil Collins flopped with Tarzan, Dolly Parton flopped with 9 to 5, Paul Simon flopped with The Capeman, Elton John flopped with Lestat, Bono & the Edge flopped with Spider-Man, Boy George flopped with Taboo, Harry Connick, Jr. with Thou Shalt Not, etc.

 

 

 

Though we've had some successful ones such as Elton John with Aida and Billy Elliot, Cyndi Lauper with Kinky Boots, Burt Bacharach with Promises, Promises, etc.

Waitress is already a lot better than the rest of those shows that failed.  Give it some more time, and it will the that much better.  Unlike all but Thou Shalt Not (which  actually enjoyed), it is a small show and should also benefit from havong a smaller (much?) break even.

"