I think what impresses me the most about these reviews are some of the thoughtful insights and attention to detail that the critics offer in their analysis. I'm not sure we always get that, but perhaps it is the show, and this production in particular, that would not let them write in any other form.
Brantley really hits the nail on the head about what Jennifer Hudson pulls off here: she makes Shug vulnerable and wounded.
It's a bold and inspired choice that reveals who the character really is beyond the glittering object of desire she's perceived as by most of the other characters. It illuminates a whole new dynamic in why the connection forms so deeply between her and Celie. You suddenly see them as two women who've had a parallel experience living their entire lives by the definition of a society that has marginalized them, and the freedom they find together is stunning. It's something (even in the novel) that I never felt so clearly until this production.
Thrilled for everyone involved. In Cynthia Erivo, a star is born.
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.
This show is one of those special productions that, if you miss it, you'll never forgive yourself. The original production should have won Best Musical at the Tonys. It's REALLY well-constructed and the score is one of the most infectious and grand and full and brilliant and moving...
Just go see it.
"The Spectacle has, indeed, an emotional attraction of its own, but, of all the parts, it is the least artistic, and connected least with the art of poetry. For the power of Tragedy, we may be sure, is felt even apart from representation and actors. Besides, the production of spectacular effects depends more on the art of the stage machinist than on that of the poet."
--Aristotle
Reading the reviews makes me want to see this again. I loved this show so much... I liked it when I saw it on tour but this revival is so much better. So much more emotional. Glad to see all 3 ladies getting such deserved raves.
I knew I liked Hudson's performance but couldn't quite explain it. Brantley's review made me realize what it was.
Sadly won't get to see this New York production, but saw it in London, so happy to hear the raves, it really was stunning.
Well I didn't want to get into it, but he's a Satanist.
Every full moon he sacrifices 4 puppies to the Dark Lord and smears their blood on his paino.
This should help you understand the score for Wicked a little bit more.
Tazber's: Reply to
Is Stephen Schwartz a Practicing Christian
I feel excited for the cast recording given all the buzz around this. It's nice that they're doing well - although looking back the show seems to always have been a hit. I didn't realise it did so well back in 2006.
"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
A friend got there at 7:30 today and was number 7. He said it filled up shortly after. But I do know they have 59 dollar tickets for some who don't get the 35 dollar seats.
the show seems to be selling out now. anyone know if they've been offering SRO??
A Chorus Line revival played its final Broadway performance on August 17, 2008. The tour played its final performance on August 21, 2011. A new non-equity tour started in October 2012 played its final performance on March 23, 2013. Another non-equity tour launched on January 20, 2018. The tour ended its US run in Kansas City and then toured throughout Japan August & September 2018.
Finally saw the production tonight and was blown away. Not much more to add, but It really is a completely stunning production. Thankfully, "Lilly of the Field" is indeed in the production in full, not sure why it's not listed in the playbill. Also seems some other slight/shorter songs are not listed in the playbill but ARE in the show, including the "What About Love?" reprise. There are not enough words to describe Erivo's performance. Hudson seemed aloof/distant in the first act, but it seems that was a character choice because she is completely invested in the second act. I love that Doyle made room for applause breaks for most of the songs, and I was impressed that he kept the dramatic act 1 finale underscoring. The orchestra sounded fantastic and much fuller than it really is. For once the Chocolate Factory orchestrations sound great on their own, not a mere reduction of the original. The sound quality was also fantastic, definitely did not sound piped in. I cannot wait for the cast recording!
Nice 12/23 NYT article on Cynthia Erivo. It mentions her nailing Jason Robert Brown's "I Can Do Better Than That"at a Royal Festival Hall concert (review here). BWW has a video of her doing it at Marie's Crisis.
Track list on Amazon doesn't include the act one finale. I know it's not really a song but that's one of my favorite tracks on the OBC recording. I'm disappointed that they chose not to include it on this new cast album.
CATSNYrevival said: "Track list on Amazon doesn't include the act one finale. I know it's not really a song but that's one of my favorite tracks on the OBC recording. I'm disappointed that they chose not to include it on this new cast album."
I am disappointed by that too. I wouldn't be surprised if they just included it in the regular "What About Love?" track. I don't think Broadway Records really records many dialogue tracks. I am glad it's included with the underscoring in the actual revival. I would not have put it past Doyle to cut the dramatic underscoring, but am glad he included it.
I doubt it will be tacked on to the end of "What About Love" since they'll likely want that song as a standalone track. It's just disappointing is all.