THE MUSIC MAN Previews- Page 22

[Loopin’theloop]

Posted: 1/29/22 at 9:07am

BoringBoredBoard40 said: "There is a reason they stopped doing it this way decades ago

First it causes rushed writing, how can you really absorb a show and write a thoughtful piece if you need to get it to your editor a few hours later, also not really considerate of THEIR time that YOU as a producer/show are asking them to give consideration to your show

Their time makes it sound as though they are doing the show a favour. They are not on their time, they are on their publications time. Being a professional critic, is a paid position and a hugely privileged one. The phrase ‘cry me a river’ springs to mind here.

second I thought Ilana Keller from USA Today brought up a good point on twitter

"If there’s a goal of diversifying critics’ voices, maaaaaaybe making moves that make it really difficult for those who don’t live or work in the direct vicinity of the theater district to competitively review your show isn’t the best way to do it"

but regardless of any of that, what a gross ridiculous response from the press rep"

Again, it’s a job. Buy a diary and work out a schedule. Yes, from a show’s point of view it’s good to invite critics who can’t make a certain date, to review another performance and of course they should still do that because it’s potentially for the productions benefit, if it’s a good review. However, a critic moaning that things should be made easier for them is more ‘cry me a river’ 

[Loopin’theloop]

Posted: 1/29/22 at 9:07am

BoringBoredBoard40 said: "There is a reason they stopped doing it this way decades ago

First it causes rushed writing, how can you really absorb a show and write a thoughtful piece if you need to get it to your editor a few hours later, also not really considerate of THEIR time that YOU as a producer/show are asking them to give consideration to your show

Their time makes it sound as though they are doing the show a favour. They are not on their time, they are on their publications time. Being a professional critic, is a paid position and a hugely privileged one. The phrase ‘cry me a river’ springs to mind here.

second I thought Ilana Keller from USA Today brought up a good point on twitter

"If there’s a goal of diversifying critics’ voices, maaaaaaybe making moves that make it really difficult for those who don’t live or work in the direct vicinity of the theater district to competitively review your show isn’t the best way to do it"

but regardless of any of that, what a gross ridiculous response from the press rep"

Again, it’s a job. Buy a diary and work out a schedule. Yes, from a show’s point of view it’s good to invite critics who can’t make a certain date, to review another performance and of course they should still do that because it’s potentially for the productions benefit, if it’s a good review. However, a critic moaning that things should be made easier for them is more ‘cry me a river’ 

[BalconyClub]

Posted: 1/29/22 at 10:46am

Attended the Thursday, January 27 preview. 

I made an immediate, prolonged mistake viewing the opening train car scene looking solely at the movements of Hugh Jackson hidden behind his newspaper.

The early dance passes in 76 trombones felt too tight, a bit static, too regimented. I wanted more fluid movement.

The barbershop quartet is wonderful.

I liked the colorful sets, though the lighting felt consistently one note.

Hugh and Sutton got into an unplanned giggle fit late in Act 2. The audience ate it up.

About 4 times, scattered throughout the show, Hugh would flip his hat before it landed atop his head. One time would suffice: four times was way too many times.

Sutton was convincing as the librarian, but Hugh seemed more like Hugh than Harold Hill.

 

 

[Auggie27]

Posted: 1/29/22 at 12:01pm

Hugh and Sutton got into an unplanned giggle fit late in Act 2. The audience ate it up.

No doubt. Steve and Eydie did this in Golden Rainbow when they got bored. Isn't it a little early here? With a year's run ahead? From three posts, I'm wondering if this shtick is being worked into the show. 

[Robbie2]

Posted: 1/29/22 at 1:19pm

Just have an earlier opening night curtain would help 5:00 or so

[SweetLips22]

Posted: 1/29/22 at 11:53pm

From what I read,and see, Hugh Jackman is having the time of his life being Hugh and playing Harold Hill as just a character that's there so he can 'invent' him as he goes along. He's not there for the glory, the reviews but seems to genuinely want everyone around him to be 'the star' as he is so assured of who he is and what he can do. If Sutton outshines him, he's proud of that and respects her. It's a team effort but without Hugh, nobody on or off stage would have a job.

I've just watched a clip posted of 76 Trombones and to me looked totally unexciting and the orchestral backing lacking any oomph. I also do not think that Hugh and Sutton in white did them any favours--it is not a flattering colour. Red like the others and they would still stand out but maybe too much like Dolly.

PS. Why does the audience need to clap along to the music in 76? Idiots!

[mamaleh]

Posted: 1/30/22 at 2:14am

If I understand you correctly,I don't agree with your assessment of Hugh Jackman's take on Harold Hill.  Have you even seen the show? He's not "inventing" Harold "as he goes along."  His Harold is well thought out.  He pours on the phony charm expertly, all the better to quickly grab the cash from the townspeople before making as quick an exit as possible. Nonetheless, he's having a great time doing so, which I see as totally in character, not a fault of performance. That the audience eats it up makes it all the more engaging.  If you think all he does is project joyousness, watch carefully the book scenes with Shuler Hensley as his former and current accomplice. In those scenes, the charmer's mask is off and HJ's face and demeanor change; he takes on a harder look.  

By the way, I think both HJ and Sutton look great in white.  

[jo]

Posted: 1/30/22 at 7:29am

mamaleh said: "If I understand you correctly,I don't agree with your assessment of Hugh Jackman's take on Harold Hill. Have you even seen the show? He's not "inventing" Harold "as he goes along." His Harold is well thought out. He pours on the phony charm expertly, all the better to quickly grab the cash from the townspeople before making as quick an exit as possible. Nonetheless, he's having a great time doing so, which I see as totally in character, not a fault of performance. That the audience eats it up makes it all the more engaging. If you think all he does is project joyousness, watch carefully the book scenes with Shuler Hensley as his former and current accomplice. In those scenes, the charmer's mask is off and HJ's face and demeanor change; he takes on a harder look.
r
By the way, I think both HJ and Sutton look great in white."

 

Thanks for those pinpoint observations!

In his film work nobody has pointed that Hugh Jackman ever plays himself. His range now is considered one of the most versatile, especially in drama and dark comedy. His Valjean (Les Miserables - Oscar nod), his Frank Tassone (Bad Education - Emmy nod), Barnum ( GreatestShowman- GGlobe nod), Logan (Logan -arguably the best superhero movie ever made) and KellerDover (Prisoners - voted 2nd favorite movie at  Toronto filmfest)  all attest to his ability to portray characters that bring such light to differing personalities.

In earlier discussions here on the show development of The Music Man, I shared some original character notes on Marian and Harold Hill that I came across . It was quite a surprise to read that because of "his good looks and charisma" how easy it was for Harold to charm the town folks.  I will have to look that up again.

Surely, multi-Tony winner Jerry Zaks would not simply allow his lead actor to simply play himself and not give the role its proper  respect?

Updated On: 1/30/22 at 07:29 AM

[Impeach2017]

Posted: 1/30/22 at 7:41am

There seems to be a lot of nitpicking going on by people who want this production to fail (and Broadway in general).  

[TaffyDavenport]

Posted: 1/30/22 at 8:00am

SweetLips22 said: "PS. Why does the audience need to clap along to the music in 76? Idiots!"

Because they’re having a great time, and it feels very much like part of an extended curtain call. When I saw the show, I wasn’t clapping, but I certainly didn’t give a sh*t that others were.

Updated On: 1/30/22 at 08:00 AM

[angoradebs]

Posted: 1/30/22 at 8:50am

I saw this show 3 times between Weds-Sat and I loved every bit of it. I'm 100% the target audience as Music Man has been one of my favorite shows for 20+ years, and I love both Hugh and Sutton.

I sat in orchestra E1, orchestra A1, and mezz A18 (my seat was A30 but 16-28 were empty so I moved)

I know people are curious about the front row seats. A1 is partial view in the same way a lot of front side seats are - if someone is standing center slightly upstage it is sometimes blocked by ensemble members. This seat was absolutely amazing for all of the scenes that take place at the front of the stage with no set (and that's a lot of the show). When there's a big ensemble number (76 Trombones and Shipoopi especially) you'll miss a bit. And of course you're sometimes seeing the back of the actor (true of many side seats, though)

I did not mind the stage height, but for the person who "likes to see feet" - you won't always. How often you will will depend on your height. I'm 5'6 and could see feet for probably the front third of the stage. Any further back and I saw ankles. I do think the staging does a great job putting the main action front and center, though.

I loved sitting so close, but I am very very used to sitting front row off to the far side (this isnt far side, I just mean I usually view shows from an angle). Someone used to sitting center will probably be disappointed. I don't think it's the best spot for a first viewing of the show. And I don't think they should be charging $300 for it. I'm glad I got to sit there, and I'd sit there again if the price went down.

E1 was the perfect seat to me. Mezz was fine, good for seeing the dancing but in general I don't like sitting in the mezz. A30 was listed as PV and it definitely is (and there are like 6 more seats further over). A18 was of course full view and would probably be the perfect seat for a lot of people.

I did notice a couple of slight changes from one viewing to another (like which ensemble member said a line, and a bit of choreography that got cut during a transition scene). So they're still playing around with some small things, but for the most part the show stayed the same.

[Melissa25]

Posted: 1/30/22 at 9:04am

Thank you angoradebs for such specific details. Much appreciated!

[Dollypop]

Posted: 1/30/22 at 9:16am

Impeach2017 said: "There seems to be a lot of nitpicking going on by people who want this production to fail (and Broadway in general)."

 

At the prices that Broadway is charging these days, theater-goers have every right to nit-pick. This is especially applicable to THE MUSIC MAN, which has astronomical prices.

A few weeks ago I paid $85 to see something called HOLIDAY ON ICE., which was a Gateway production at the Patchogue Theater. It was billed as a "professional" production but was anything but. Sets were abysmal, costumes looked as though they'd been found at various thrift shops and looked as though they needed a good laundering. The ice skating was good but the rest of the show lacked direction: a youth chorus standing in a straight line, slouching and looking bored; heavily miked singers turning their backs to the audience while they walked upstage; a pre-recorded orchestra and trained dogs jumping through hoops over and over again. This was NOT "professional theater" and the price tag for a local production demanded more.

I haven't seen THE MUSIC MAN yet, but if I'm paying those prices, I'm going to demand the best. I want live theater to survive but I also want good choreography, direction and performances.

 

[Sutton Ross]

Posted: 1/30/22 at 11:07am

Dolly spittin Fax this lovely morning! 

[benfox2]

Posted: 1/30/22 at 2:33pm

Saw the show during yesterday's matinee after a rush, what a joyous time! This is my first experience with music man ever, and I really enjoyed it! I liked Hugh's performance, and Sutton was wonderful as well. The ensemble was wildly impressive, every single one of them hilarious and talented dancers. I wish I had more to say other than what an enjoyable production to see!

[sassylash3s]

Posted: 1/30/22 at 6:22pm

I also saw the matinee and am pleased to report that the finale dance sequence has been cut down significantly since the beginning of previews.

[quizking101]

Posted: 1/30/22 at 6:42pm

I saw this afternoon’s matinee show.

Its cute, corny as hell, and is basically a showcase for Hugh Jackman with surprisingly great assist from Sutton Foster (I usually am not her biggest fan but I liked her here) and a solid supporting cast. I had fun and it was a lovely day out, but certainly not $600 worth of fun. (I paid $99 on StubHub for extreme left mezzanine). In terms of Jerry Zaks revivals - “Hello Dolly” was far superior. My only issue was that “Shipoopi” was such a bitter disappointment and the updated lyrics are just hard to swallow



During the Act I “Marian The Librarian” dance break, Hugh accidentally missed catching a book at one time and beaned the conductor directly on the head. Hugh looked a little shook but kept smiling and chuckled through it - with Sutton doing her darndest not to crack up in the background and keep her “angry” face on, but she was clearly stifling it for the rest of the number and the audience ate it up.

If the aforementioned giggle fit in Late Act II is the one as Marian tries to rationalize Harold’s identity after being confronted by the other salesman, it happened again today when it looked like she shoved Hugh a little too hard and almost knocked him on his bottom.

 

Updated On: 1/30/22 at 06:42 PM

[frankiec]

Posted: 1/30/22 at 8:06pm

This was my first time every seeing a production of The Music Man. I honestly thought this blew Hello, Dolly out of the water. Except for maybe the first 20 minutes (Hugh seemed off? Or maybe the show takes a little while to build up some steam?), I had a smile on my face the entire show. Ms. Foster is one of the greatest musical theatre performers ever, and she does not disappoint; she lands every laugh but also sings the role beautifully. Mr. Jackman looked a little tired to me, and I can see why some people don't think is his best role, but he is such a force of nature and so charismatic that it doesn't matter. Once we get to the library scene, he has us eating out of the palm of his hand. But there's SO much great work going on up on that stage besides the names up on the marquee--the entire ensemble is incredible! For those who are saying there's way too much dancing, I would say that the sheer joy emanating from the stage during the dance numbers is reason enough to keep all of it in the show. A cure for the winter blues for sure! Also: they've clearly tightened the show, as it ran 2:30 today with intermission. 

[HeyMrMusic]

Posted: 1/31/22 at 10:13am

Not sure if I missed it elsewhere… Is “It’s You” still cut from the show?

The 2:30 runtime definitely sounds like lots was tightened. They did have quite a lengthy preview period to figure it out though, even with the cancellations.

I still don’t know if this is worth the splurge. And this is why the nitpicking here is certainly helpful for me. Even the slight mishaps and frequent breaking of character is a little off-putting to me at the prices they demand.

[TaffyDavenport]

Posted: 1/31/22 at 10:23am

angoradebs said: "Mezz was fine, good for seeing the dancing but in general I don't like sitting in the mezz. A30 was listed as PV and it definitely is (and there are like 6 more seats further over). A18 was of course full view and would probably be the perfect seat for a lot of people."

That's the thing: A 30 isn't being sold as partial view, and neither are any other of the $99 seats on Telecharge, even the ones further over. From what I've seen, the only ones marked as partial view are the ones sold at the box office, which have an ink stamp on them, rather than having the designation in the ticketing system and printed on the ticket. I'm guessing most people will just be happy to get $99 tickets, and won't complain, but it's extremely shady to not have a single seat in the orchestra or mezzanine sold on Telecharge that's designated as partial view, when they clearly are.

In turn, resellers are able to sell those seats as full view, since it's not printed on the ticket. 

 

Updated On: 1/31/22 at 10:23 AM

[SueFB]

Posted: 1/31/22 at 10:35am

HeyMrMusic said: "Not sure if I missed it elsewhere… Is “It’s You” still cut from the show?

The 2:30 runtime definitely sounds like lots was tightened. They did have quite a lengthy preview period to figure it out though, even with the cancellations.

I still don’t know if this is worth the splurge. And this is why the nitpicking here is certainly helpful for me. Even the slight mishaps and frequent breaking of character is a little off-putting to me at the prices they demand."

Still no "It's You". I wouldn't characterize the breaking of character as "frequent", certainly not to the point of disrupting the show. The book drop yesterday appeared to be an honest error, and if it hit Hugh's friend Patrick V, as others have said, then I'd expect him to be concerned and chagrined, and he was. It also led to an amusing moment during the curtain call where Hugh held out his band hat to the orchestra, perhaps offering it for protection against future falling books. :)

[FANtomFollies]

Posted: 1/31/22 at 10:49am

I tried asking this a while back on the seating advice thread but didn't get a response:

My group has seat in the Orchestra Row H seats 16,18,20 and 22. Will this be partial view at all? We bought them so long ago and we've never been to any show at Winter Garden so just want to know if we should prepare ourselves for a less-than full view. 

[TaffyDavenport]

Posted: 1/31/22 at 10:58am

FANtomFollies said: "I tried asking this a while back on the seating advice thread but didn't get a response:

My group has seat in the Orchestra Row H seats 16,18,20 and 22. Will this be partial view at all? We bought them so long ago and we've never been to any show at Winter Garden so just want to know if we should prepare ourselves for a less-than full view."

Here's H 24:

https://aviewfrommyseat.com/photo/155413/Winter+Garden+Theatre/section-Orchestra+R/row-H/seat-24/

[angoradebs]

Posted: 1/31/22 at 11:40am

TaffyDavenport said: "angoradebs said: "Mezz was fine, good for seeing the dancing but in general I don't like sitting in the mezz. A30 was listed as PV and it definitely is (and there are like 6 more seats further over). A18 was of course full view and would probably be the perfect seat for a lot of people."

That's the thing: A 30 isn't being sold as partial view, and neither are any other of the $99 seats on Telecharge, even the ones further over. From what I've seen, the only ones marked as partial view are the ones sold at the box office, which have an ink stamp on them, rather than having the designation in the ticketing system and printed on the ticket. I'm guessing most people will just be happy to get $99 tickets, and won't complain, but it's extremely shady to not have a single seat in the orchestra or mezzanine sold on Telecharge that's designated as partial view, when they clearly are.

In turn, resellers are able to sell those seats as full view, since it's not printed on the ticket.

"

I could have sworn my A30 ticket said "PV" on it, but I just double checked and it does not.

[stlrod]

Posted: 1/31/22 at 4:35pm

I just released C111-114 in the Mezzanine on 2/12 at 8pm at $279 and they are on Telecharge.