Listening to ACL OCR — Page 2

...turn to their wife and say "What show are we seeing again?" will no doubt be in the front rows.

Exactly. And again, that's the prerogative of the producers. The thing it affords me, however, is some critical distance. It gives me time to look at this through the lens of an ACLFanatic (as DD put it). Knowing that Bennett hated revivals, always wanted to be looking forward to the future of musical theater, always striving to stretch past the limits of what could be done. I got a sickly feeling when I saw "the kids" in the earliest coverage of this revival in the exact replicas of the '70s costumes. I thought, "A Chorus Linemania: Not A Chorus Line But An Incredible Simulation."

And then the sickly feeling expanded when I realized that they were recreating the ticket scarcity with an eye towards extorting huge amounts of money from audience members.

The thing is, I've seen slavish reproductions of the original, from Baayork's many tours, and even a couple of semi-pro community productions directed by and starring Broadway's last Cassie, Laurie Gamache. Each was terrific in its own way. But this revival stands to be just another one of those.

I feel no imperative to see this specific group of performers dressed in the original outfits. I can see ANY group of performers dressed in the original outfits if this thing runs. What will I have missed? I was there the first time.

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Updated On: 7/18/06 at 06:00 PM

Bump for FosseBoi

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Updated On: 7/19/06 at 12:06 AM

I JUST finished watching the movie after listening to the CD for a while.

Now the CD is so 70's and the movie orchestrations are so 80's...and the 80's just didn't quite work. But, enough about the movie.

I'm excited for the revival for different reasons than everyone else. I never saw the original or even knew much of the show until now...but no show really "got to me" the way ACL did. I'm excited to see this groundbreaking show and to see what has affected so many people for so long. I am also excited to see my favorite Broadway dancer - Charlotte d'Amboise.

I agree with Namo on the ticket situation. Not only for this - but for all shows. ACL should offer rush (be it student or general) in the front row. SHOULD. But that doesn't seem likely. My parents got tickets without me, since I will be in school.

So what is everyone's favorite song? Or the one they connect with most? For me, I think, it is NOTHING. I think anyone who has taken an acting class can connect with a lack of that sense memory bull****. I remember one thing we did and when asked how I felt I wanted to say, "Like an idiot in the middle of a black box." (Of course, I didn't.) We've also all (at least I have) had the moment in class when we were made to feel like complete morons because we didn't get something. After a while, when it clicks, boy does it click! If only I knew of ACL then, I would have called her "Mr. Karp."

Anyway, I feel like this revival will bring in a new generation. Like myself. It feels like a show that should just always be on Broadway. That should always be running for each generation.

The last national tour I saw was somewhere in the years between '94 and '96, I think it may even have been called the Visa tour and the TV commercials might have stressed that you COULDN'T get tickets with American Express (take that!).

There was the moment at the end of "I Hope I Get It" when the line assembles for the first time with their 8 x 10s in front of their faces and I felt wave after wave after wave of goosebumps from head to toe. (Which immediately made me think of Trudy in The Search for Signs of Intelligent Life in the Universe; but was I an ingredient in the soup or a part of the art?).

I realized at that point that the show had, 20 years before, changed me on a cellular level. My physical reaction was completely involuntary. It was thrilling.

I'd like to point out that my problems with the ticket distribution method of the revival are not an argument for producers to give away seats or raffle them off or whatever else RENT has wrought. My beef is with the faux scarcity model.

I understand that producers were sick of seeing ticket agencies making huge sums of money, and the rules of capitalism explain that people charge what people are willing to pay. But since they "hold" the best seats and then end up dumping at least a percentage of them because people don't take the tickets at the exorbitant prices, it seems to me to defeat the purpose. There HAS to be another way to beat the scalpers.

I mean, how, HOW is it possible that for the last performance for which they are selling ACL tickets in March of 2007, there's NOTHING in the orchestra that isn't five rows past the mezannine overhang? It's not.

So f it. That's my motto.

ETA I just checked for tickets next week in SF and I'll be darned if there aren't some pretty damn good seats available for 80 bucks. (And spectacular $170 premium seats that come with two free beverages!).

And yet there's really nothing very good left for MARCH 2007 at the Schoenfeld!

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Updated On: 7/19/06 at 01:08 PM

Hear the f#ck, hear!

I'll gladly pitch in. Honestly, such whining. Somebody call the waaahmbulance.

*the cows bring in $500.00 for the tickets*

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Thank you BB. I've made my point and did my best to refine what I was saying so I was as perfectly clear as possible.

And on that note, I'll leave PalJoey basking in his AIDS-related Melancholia Fest and keep my fingers crossed like Mark in the new Chorus Line logo that the revival lives up to his (and everybody's else's) gigantic expectations.

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Anyone up for an "AIDS-Related Melancholia Fest" on the Great Lawn in Central Park?

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I agree with you entirely, BettyBoy. The private jokes and private histories of BWW posters have bamboozled many a new poster--myself included!

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Just to clear one last detail up

"His response to me was actually a private joke..."

I have no idea what private joke to which PalJoey refers.

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By the way, congratulations to PalJoey on the recognition in Rob's Broadway Pulse entry today:

From the Boards:

I'm amongst the first to admit that I don't have the time to read every thread myself on the BroadwayWorld.com Message Boards, namely because we get thousands of posts (on a slow day). Like with every sort of community, both online and off, there's a wide range in "quality" of the posts (a naturally subjective term). Every now and then though, I come across a post that 'raises the bar' and makes me even more proud to have helped create this community where posts of this nature can thrive. A post that numerous people pointed out to me this morning is by PalJoey, who reminisces about the Original Production of A Chorus Line, as well as times and friends lost of the years.




Edited to add - Rob then links to PalJoey's post on page one about what the show means to him, and his history with it.

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Updated On: 7/19/06 at 03:19 PM

Unfortunately not all theatres are able to provide SRO.

It's a good idea...but producers can get half price for partial view.

I think it is a good system, with lottery OR student rush front row.

The price scheme is difficult because the smaller houses may not be able to divide into three.

And what about the houses with a balcony?