WATER FOR ELEPHANTS Broadway Previews- Page 2

[suicidalmickeymouse]

Posted: 2/24/24 at 11:55pm

First preview fun tidbits:

-Isabella McCalla gave a short speech/ after  curtain shout out to the cast and crew making their debut tonight. 

-A hilarious mishap occurred at the very end of the show when an ensemble member entered too early loud and proud with their line announcing the cab was here. Everyone in the scene just looked at him and just kept talking and he ran off. My husband didn’t even catch it was weird until 45 seconds later when he came on again to announce the cab was here. Audience lost it, in a good way and the actors played off it so well. 

-There was a sequence where a knife was supposed to stab a cauliflower, but it failed twice before it was stabbed in a joking way. If it weren't for the reactions of  the employees around me I would have thought it was written to go that way.

Overall thoughts:

-I sat furthest house right, first row of Rear Mezz. Marked partial view, nearly perfect view. 

-The circus stunts and ensemble dancing make the show worth seeing. Some of it was truly unbelievable.

-Paul Alexander Nolan elevated the show every single time he was on the stage. He is the only person, save Isabella McCalla, who felt like they were irreplaceable.

-I wanted more from the set. My husband made the comment it needed to pick between “artsy sparse” and a spectacle because  it felt kind of between the two. The lighting and costuming I really liked. And when the set worked, it really did. I just wanted a little….more 

-the solos go on way too long. They stopped the show in its tracks, were not thrillingly sung or well written. They needed to be shortened at the very least. 
 

-The comment above where it said the show was missing its emotional core sums up how I feel. I just didn’t care enough about the characters or even the animals to feel affected or moved. I saw the Notebook at 2pm and felt so many feelings. This left me feeling “meh”.
 

Tourists will enjoy it. Anyone will enjoy the stunts, the lighting, the dancing. It was a nice night out but it didn’t leave a strong impact of WOW. I may be in the minority because the audience was crazy for it. I am interested to see what changes they make in tightening it up and to hear more thoughts!!

 

Updated On: 2/25/24 at 11:55 PM

[dukes3]

Posted: 2/25/24 at 12:03am

This show was incredibly disappointing. I found myself bored and not invested in the characters’ arcs. Nolan was the standout. Wish the ensemble numbers with circus acts were staged more strategically like in Pippin instead of everyone doing things at the same time. It seemed like a few of the side characters could be cut. Wish these talented performers had stronger material to work with. 

[ps27b]

Posted: 2/25/24 at 12:33am

I was there tonight and loved it. I came in as a big fan of the book and left a big fan of the show. I liked everything about the show, the performers, the dancing, the creative staging and really loved the music too. Maybe knowing the story made it easier to appreciate. The audiance seemed to be loving it too - lots of applause throughout - and at one point, I realize I was sitting there watching with a smile on my face - happy to be watching and listening to something new and wonderful. I am not a professional in the business or a critic - Just a theatre lover who had a great time tonight. I think it will be very well recieved. 

Updated On: 2/25/24 at 12:33 AM

[NicoleMWright2]

Posted: 2/25/24 at 1:06am

For those curious about the lottery, there were 13 tickets available for tonight. I’d guess around 50 people in attendance. A friend won me a single ticket, Row C center of the rear mezzanine. The organizers mentions that seats may be partial view and pairs might be split. I’m unsure what the other winner locations were. 

[OhHiii]

Posted: 2/25/24 at 8:12am

If even Jordan didn’t like this, then it’s *very* doomed. Not a knock on your tastes, but when enthusiasm for the art form can’t even elevate a show, there’s not much hope. 

[Dolly80]

Posted: 2/25/24 at 8:24am

First previews are not a good gauge of a show re audience response. The first performance always means everyone goes wild because they are the first to see it and everyone’s a bit hysterical.
 

[MezzA101]

Posted: 2/25/24 at 9:02am

NYTimes: ‘Water for Elephants’ Brings the Circus to Broadway

https://www.nytimes.com/2024/02/25/theater/water-for-elephants-circus-broadway.html?unlocked_article_code=1.YE0.NsjW.7pINsCv9OYQ9&smid=nytcore-android-share

 

From today's 2-part NYT A&L Spring Preview

[Jordan Catalano]

Posted: 2/25/24 at 9:39am

OhHiii said: "If even Jordan didn’t like this, then it’s *very*doomed. Not a knock on your tastes, but when enthusiasm for the art form can’t even elevate a show, there’s not much hope."

 

Well to be fair, there’s a ton of stuff I don’t like. I just normally don’t post about shows I feel aren’t good. But someone told me a little while ago that I should start to do it again and I decided I might as well. 

Updated On: 2/25/24 at 09:39 AM

[BETTY22]

Posted: 2/25/24 at 9:46am

It was the first preview. so let's give it a chance.

I'm certain there will be lots of changes and adjustments. However, the score will still be the score - and that unfortunetly is the weakest link. 

I think we will see a few big changes in the book........

[jacobsnchz14]

Posted: 2/25/24 at 9:57am

Some of these are disappointing, but I’m cautiously optimistic. But as a fan of the book and the film, I do hope I get a chance to at least see it and make my own judgment calls on it. But based on what I’m reading here and elsewhere, I’m hoping this also isn’t the case for The Outsiders. Nice to read some of the highlights and bright spots, though.

[GottaGetAGimmick420]

Posted: 2/25/24 at 10:17am

Sounds like the autograph hounds have been getting really aggressive at the stage door RE: Grant specifically 

[TicketBoy]

Posted: 2/25/24 at 10:46am

Ultimately it felt like we've seen much of this before, and seen it done better. Life of Pi/King King/Lion King all showcased revelatory puppetry in a more exciting way. Pippin and Paramour (remember that show?!) brought circus acts to the stage in a more "death-defying" way. That's not to take away from the cast in W4E who are ~incredibly~ talented and working extremely hard. It's just that the score coupled with the creative approach felt like a letdown. 

For all the talk about the budget and complexity of the show, it's not hard for me to see a pared down version of this at regional theaters or schools. The circus acts aren't totally ingrained into the show, so you do whatever you can do. It doesn't require trapeze artists or aerial skills to perform the show. I understand why the costs to mount this on Broadway were so high, but I have to be honest and say that it did not LOOK like $25m on stage. I think it could have a life in smaller productions. 

[ErmengardeStopSniveling]

Posted: 2/25/24 at 12:25pm

TicketBoy said: "it did not LOOK like $25m on stage. I think it could have a life in smaller productions."

Just to put things into perspective...

That $25M isn't just the physical production. It includes ALL the development work on the show and pretty much all costs incurred prior to the start of previews: workshops/readings/work sessions, rights acquisition, authors fees, enhancement for the Atlanta production, rehearsal & tech costs, any advertising/marketing that occurred prior to the start of previews, legal & admin expenses, $1M+ of contingency...etc. All that could easily account for 35-50% of the capitalization. Not to mention costs of goods & services & union labor for scenic & costume construction rising significantly compared to 10 years ago.

Something like the SWEENEY revival can cost $13M because, relatively speaking, the physical production isn't massive, they didn't take it out of town, didn't workshop it extensively, and the presence of a major star makes the advertising costs go a lot further.

Updated On: 2/25/24 at 12:25 PM

[EDSOSLO858]

Posted: 2/25/24 at 12:50pm

Does anyone have a song list from last night? I don’t think they had one in Atlanta. 

[Adeliciaboy]

Posted: 2/25/24 at 1:21pm

I was at Saturday’s first preview.  Let me get this off my chest first.  I for one am sick and tired of greedy producers in this post-pandemic world trying to pawn of their half-baked theatrical soufflés on a public that for the most part wouldn’t know a good musical from a pile of trash.  “W4E” most decidedly is in the latter category.   There are plenty of problems with this show.  Chief among them is Pigpen Theatre’s score, which in no way rises to the level of great theater music.  It’s folksy and forgettable for the most part — helped in no way by the fact that the greedy producers couldn’t pop for more than 12 musicians in the pit of the reported $25 million bomb. There isn’t a breakout great number in the entire affair.  But boy, whoever had the bright idea to keep “Wild” in the second act aught to be put before the firing squad.  It’s overlong and brings the show to a crashing halt.  There really isn’t a decent song in Act 2, and unless that changes the show is doomed.  And let’s talk about casting. Grant Gustin is a mistake.  There’s no polite way to put it.  He’s got no presence on stage and a weak singing voice.  Isabelle McCalla is better but she’s got nothing to work with, including that ghastly “Wild” number.  Gregg Edelman, god bless him, seemed to be having senior moment for the entire duration of the first preview.  He needs help or else someone should politely show him  the door.  Sara Gettelfinger has presence galore, but she seems to have escaped from a production of “Gypsy” and landed in this turkey.  I’m sure there will be tweaks and such to the show in the weeks to come.  But nothing the creative team can do will fix this show at this point.   The best they can do is hope that gullible audiences they are looking to lure will show up in sufficient numbers to keep this show on the boards for at least a few months. The good news is that a number of acrobatic cast members may have a future in Cirque de Soleil long after the final curtain has fallen on “W4E.”

[Jordan Catalano]

Posted: 2/25/24 at 1:57pm

I would like to say though, how wonderful it is having Sara Gettelfinger back on Broadway. I’ve been such a fan of hers for so many years. I wish she had better material to work with but whatever gets her foot back in the Broadway door - it’s really great to her voice again which is just as exceptional as it’s always been. 

[suicidalmickeymouse]

Posted: 2/25/24 at 2:03pm

I forgot to add that there was an opening night gift taped to the seats in an envelope. A cute beaded elephant bracelet!

[RainyAgwe]

Posted: 2/25/24 at 2:20pm

Jordan Catalano said: "Performances were all good, as was the staging. That score though. Oof. That's what kills this show. It stops it dead in it's tracks 20-something times when people open their mouths to sing. Not every song is AWFUL but there's more than enough of them that really are. And while the acrobatics were great there was nothing "elevated" about them that made you OOH or AAH (well, besides some of the people who were literally SCREAMING throughout the entire show, something that Broadway needs to find a way to address because it's ridiculous). Same with the animals - the Elephant was good but we've seen great and better puppetry on stage in the recent past and I'll even include "King Kong" in that because that ape was exceptional. Not asking Julie Taymor to come and re-do "The Lion King" for this but it wouldn't have hurt to have a bit of that on this stage. It just would have helped and heightened everything else.

I dunno what I expected from this, having never read the book or seen the film but I don't exactly have any desire to do either of them, now. But as always,I hope people do enjoy itbut it was just a big ol' miss for me."

As someone who *loved* the book and saw the show last night, there are a lot of things that the musical does that really undersells what makes the story a worthwhile read. Definitely recommend the book, though it’s not life-changing.

Outside of the noted problems with the score (I’m not one that needs everyone to be hummable, but there’s a couple of times I literally shook my head and audibly said “what the ****&rdquo, I find that that book never really narrows in on a perspective. What is the story we are trying to tell? It’s set up as the memory of a lonely old man, but gives us no reason to care about him. Then with the Benzini timeline I feel like they have so much misused time that could be used to make me care about what’s happening. I think because I know how these relationships develop in the book I just have a hard time watching them hardly scratch the surface on any of it in the musical. 

I didn’t HATE it, and I have seen **** I’ve hated, but I feel like a good musical can be found somewhere in the material they have (but remove that horrendous song Izzy and then Grant sing in act two, for the love of god).

but hey, if this closes early I want people to remember that Paul Alexander Nolan is ****ing amazing in this. Give the man a Tony nomination.

 

Updated On: 2/25/24 at 02:20 PM

[Peronista]

Posted: 2/25/24 at 2:42pm

The thing about the score that's a problem for me isn't the style or the catchiness (or not) of it, it's that multiple songs just say the same thing.  It feels like there are 6 songs about "the traveling life!" and 4 songs about "The circus life!" and 7 songs about "I love the traveling circus life!" and then 3 songs about "I remember how much I miss the traveling circus life that those other people sang about 17 times".  The guys who wrote the score are probably amazing songwriters.  It just feels like these producers went looking for a group or band that they could sell in the same way Waitress was able to sell Sara - a pop writer making the move into theater - to appeal to the under 30 demographic.  Problem is Sara worked her ass off to learn the craft as she went along - and talks all the time about how hard it was and how many songs she threw out because they didn't live up to the standard of how theater songs need to work - not just sound.

Also... the puppetry is a no-win situation.  It's like what we can look forward to when Lion King rights get released to schools.  After Lion King and War Horse and Life of Pi, you have to really reinvent your approach.  And they just didn't with this.  Maybe also the same with the circus stuff.  It's like today the general public has seen at least one Cirque show and so everyone's eyes are adjusted to difficult tricks.  It's how you present them and how you frame them and make them feel special that makes it work.  Those two elements just feel like the creative team did not spend time searching for puppet designers and circus designers who understood theater and how to make their art feel worthy of the uniqueness of a musical.

But the cast is working hard and having fun - it seems.  Gettlefinger looks like the one who rises to the level the creatives are trying for.

[KarenValentine'sheadband]

Posted: 2/25/24 at 2:55pm

Yikes! Some of those posts are scary. I have tickets in April for this. I hope it's still around. 

[Broadway Flash]

Posted: 2/25/24 at 3:44pm

Shubert should use their leverage to get shows to have larger orchestras.  If they don’t want to have 18 musicians in the Pitt, then they can’t have the theatre PERIOD.  and they will get some other show in there.  Bad Cinderella I believe had a small 6 piece combo in London, and then came in to the Imperial with 18. 

[ErmengardeStopSniveling]

Posted: 2/25/24 at 5:22pm

Broadway Flash said: "Shubert should use their leverage to get shows to have larger orchestras. If they don’t want to have 18 musicians in the Pitt, then they can’t have the theatre PERIOD. and they will get some other show in there. Bad Cinderella I believe had a small 6 piece combo in London, and then came in to the Imperial with 18."

If Shubert had it their way there would be 0 orchestra minimums. The landlord is aligned with the producers (and both are repped by the League) and neither likes being tied to arbitrary rules put in place by a union. I'm all for a 40-piece orchestra for every musical that warrants one, but the current minimum situation is pointless and does not serve the authors.

[dramamama611]

Posted: 2/25/24 at 6:03pm

Why would the Shubert Org care?  They just want tenants, preferably long running.   I agree with Ermengarde - the numbers are arbitrary.  While I understand them, that many producers look for ways to save money instead of protect artistic integrity, it's arbirtray and based on house size - which means nothing for the variety of shows that exist.

Do I love a large and lush orchestra....yes, indeedy - but there are plenty of shows that don't need that.

[Skip23]

Posted: 2/25/24 at 6:21pm

i’m totally shocked. I actually liked this. The second act is a little rocky and it’s all a little predictable and low tech for the circus moments but it’s heartfelt, tuneful and actually kind of sweet. You could do a lot worse - like walking across the street. 

[Broadway Flash]

Posted: 2/25/24 at 6:34pm

Couldn’t they have gotten a show with a bigger orchestra to accommodate the union?  Yeah Shubert put in Here Lies Love which was prepared to have 0 musicians obviously they don’t care but why go against The rules.