Posted: 6/6/17 at 1:17pm
I saw another post and decided to do the same. I am not going into so much detail, but I am going to present them in order of liking / admiring / my assessment of quality, all jumbled together to form an opinion. I should point out that I liked everything I saw this season (with one exception), including the 6 that I saw in October. I will be back in July to see a few more that I have missed, and hope they will still be open.
In order:
Dear Evan Hansen -- I went to this and Hello Dolly with 5 other people. All loved it, it spurred major conversation, etc. Ben Platt is giving one of the greatest performances in a musical I have ever seen...I have said in other posts that it will be 'legendary' in years to come and it will be. The entire cast was excellent, but Rachel Bay Jones DOES deserve a Tony for a heartbreaking performance. A+
The Little Foxes -- This production proves that the play is just as good as most Tennessee Williams, all Arthur Miller, etc. The message is more timeless than ever, with the pig in the white house demonstrating ongoing greed, as evidenced by his cabinet choices. Laura Linney and Cynthia Nixon (as Regina and Birdie, respectively, gave GREAT performances, and both deserve a Tony IMO. A+
Sunset BLVD -- This was a last minute selection, based on reading about $99 rush for great orchestra seats. And boy was I glad. I had seen it three previous times, twice with Close. I was not prepared for the production itself. From the reviews and this board, I expected it to be much more bare bones outline than it was. It was a full-blown production, with terrific staging by Lonny Price, who deserved a Tony nomination more than Jerry Zaks (I don't think there was anything in his direction that was not already done by Gower Champion). The orchestra was phenomenal, and Glenn Close confirmed that her performance should remain on the 'legendary' list. She was amazing. Her voice is not great, but it seemed no worse than it was 20 years ago. Never Said Goodbye represents the highlight of the entire trip: the music, the orchestration, the lighting, the performance. I also thought that Michael Xavier and the rest of the cast were excellent. A
OSLO -- A very entertaining play about an event that I didn't remember very well. Extremely entertaining, while educating as well. I really learned a lot and found what I learned fascinating. The cast was uniformly excellent, and I think it is a real shame that Anthony Azizi was not nominated, since he was excellent in a less showy role than Michael Aronov, who was also excellent. I loved the end when they recited the various dates and events that came after the accord. Very effective. If I have any quibble, it was with Jefferson May's last speech. I think it was a directorial mistake to put him out in the audience, and I thought it was a little preachy. B+
Hello Dolly -- I loved it and I was disappointed at the same time. On the plus side, the entire supporting cast was terrific, with the exception of Jennifer Simard who I thought was way too over the top. Thank God it is a tiny role. But special kudos to David Hyde Pierce and Gavin Creel, who were far and away the best Vandergelder and Hackl I have seen...and I have probably seen 8 to 10 of each. The sets and costumes were to me superior to the original production, whose costumes were great but whose sets I always found a little cheap looking. Best example: the current Harmonia Gardens set looks like the restaurant is plush, whereas the original was pretty cheesy, the stairs looked unsafe. I felt that the direction and the choreography were fine, but I didn't see anything original in them. I should point out that I am not one of the posters who seem to have photographic memories.
I thought that Bette Midler was hilarious, and the audience loved her. Her dramatic scenes were warm and the last scene was lovely. HOWEVER, I thought she phoned in the songs. Unlike Glenn Close, she did not give as much as she could. So what if her voice is not what it was. The best Dolly I have ever seen still is Carol Channing, whose voice was like sand paper, although she always stayed on key and wrapped her voice around every song. Bette did not. Pearl Bailey made So Long Dearie 'her own'. Bette could have, but she held back. I still love Bette, but this confirmed that I can't wait to see Donna Murphy in the role.
Final word: I enjoyed the show a lot, loved scenes the I didn't historically (because of Creel and Baldwin), but I thought it lacked excitement. Put on Your Sunday Clothes is one of my all-time favorite production numbers...I thoroughly enjoyed it, but it was missing something; same for the title number. I think the orchestrations were inferior to the original and that didn't help. I did not think the cast sung at the top of their lungs, and that didn't help. (And, I still think the Waiter's Gallop is filler). B / B+ (It should have been an A+)
Come From Away -- I generally get the OBC before seeing musicals, as I have discovered that I often enjoy the score more when I am familiar with it (this started with Sondheim). That was a mistake with this show. I actually do enjoy the score, but found that seeing it did not add a lot to the experience. I enjoyed it, it was well done, the cast was excellent, but the CD really captured it. (I don't like Jean Colella's voice...I find it grating). I saw this with 5 other people, all of whom loved it, none of whom were familiar with the score when they arrived at the theatre. B
The Play That Went Wrong -- I saw this because it had a performance at a time that worked. I would have preferred to see at least 4 - 5 others. That said, I enjoyed it. Just what the doctor ordered after A Doll's Life. I laughed frequently, got caught in the spirit. Cast was uniformly excellent. I hope some have gotten some special long-term insurance policy for problems that have years from now due to this show. B / B+ (for what it was)
The Great Comet -- Mixed emotions. Loved the environmental set, walked around at intermission and found it even more fascinating. But you can't sing the set. On the most superficial level, I followed the story, but I have to admit that I was ever emotionally invested in it. Plusses: the performances were uniformly excellent, Groban's singing was beautiful, the staging was exciting, half the score was terrific; the negatives: the lighting, which I hear may win a Tony. I was in the second row of the orchestra and (and those around me) were frequently covering our eyes due to some periodically blinding spotlights; the best number of the show was painful to watch because of the over-the-top use of klieg lights...I closed my eyes or squinted for most of it, for fear of getting a migraine. It REALLY was too much. The other half of the score was sort of boring, which meant that the show got boring at times. So some very high highs and some standard lows. But I am very glad that I saw it and I will remember the parts that I liked for a long time to come. B
A Doll's House Pt 2 -- TO ME, this as not a play...it was some very entertaining ideas that could form the outline of a play. I got the point, but I wanted more meat. I wanted more exploration of the impact on the nanny, on what the daughter remembers feeling over time after momma left (and if she was too young, bring on a son who did remember and who remained angry). And, despite being described as 90 minutes, it lasted 78 minutes according to my watch. I was never bored, I was always entertained, I enjoyed the performances, I just wanted more. I also think that Chris Cooper got a break from the critics viv-a-vis his stage voice. I was about 6 rows back and had trouble hearing him...had this with no-one else. So, a great premise, a great outline for a play, they already have the cast, just make it a real play as opposed to an outline. (And Laura Linney really deserves the Tony, whether she wins or not. Hers was a full-bodied performance in a full-bodied play. I will remember her long after i have forgotten ADHP2. B- (because it was entertaining and the ideas are all there)
In closing, I will simply add that this was absolutely the most successful crash week I have ever had. Usually, I hate at least one show; rarely, do I like something as much as I liked Evan Hansen or this production of The Little Foxes.
And I am disappointed that I didn't get to Sweat, Indecent, War Paint, Bandstand, Miss Saigon, and Present Laughter. Had no interest in Bronx Tale, 6 Degrees, Charlie). I will try to get back some time in July...I know some won't be opened by then.
Updated On: 6/6/17 at 01:17 PM
