#26
Posted: 4/17/08 at 4:15pm
Rayandallthatjazz - ah! Thank goodness. Yes, the Windman "review" is not well written.
A CATERED AFFAIR Reviews — Page 2
#27
Posted: 4/17/08 at 4:20pm
Ok seriously AMNY, is this-
Harvey Fierstein, center, stars as the "confirmed bachelor" uncle in the musical, "A Catered Affair", about a family's choice of investing in a family business, or paying for a lavish wedding reception for their only daughter, also wrote the book for it based on the film by Gore Vidal and the teleplay by Paddy Chayefsky.
supposed to be *one* sentence? It doesn't bode well for me being able to read your review if I can't even make it through the photo captions.
Harvey Fierstein, center, stars as the "confirmed bachelor" uncle in the musical, "A Catered Affair", about a family's choice of investing in a family business, or paying for a lavish wedding reception for their only daughter, also wrote the book for it based on the film by Gore Vidal and the teleplay by Paddy Chayefsky.
supposed to be *one* sentence? It doesn't bode well for me being able to read your review if I can't even make it through the photo captions.
#28
Posted: 4/17/08 at 4:25pm
Talk about shootin' your load too early!
Erm, except it can hardly be qualified as orgasmic. As much as you enjoy that figure of speech.
Jay - Cry Baby is going to get panned by almost everybody. ACA should see at least a few decent notices.
A work of art is an invitation to love.
Erm, except it can hardly be qualified as orgasmic. As much as you enjoy that figure of speech.
Jay - Cry Baby is going to get panned by almost everybody. ACA should see at least a few decent notices.
Updated On: 4/17/08 at 04:25 PM
#29
Posted: 4/17/08 at 4:26pm
Yeah, hi, I'll form my own friggin' opinion upon seeing this piece ... which looks/sounds like 'quite the experience'. I am VERY MUCH looking forward to making my way to the Kerr on Monday evening. Here's hoping Mr. Brantley has an appreciation for 'a little show that SHOULD'.
Best,
- Mike
Best,
- Mike
#30
Posted: 4/17/08 at 4:27pm
Linda Winer's review is very well written, I think. No, she didn't care for the show, but that doesn't mean she doesnt know what she is talking about.
PEACE.
#31
Posted: 4/17/08 at 4:31pm
I'm with jrbactor. This show is bravely trying to tell its story in an honest, true way, and the style is not the stereotypical BOOM BANG PIZAZZ that most people expect from musicals. In this way, it can be compared to Piazza, Caroline or Change, and to a degree, Passion or Kiss of the Spider Woman. These are sensitive, small, serious musicals.
"It is an elegant production that shines with authentic emotions, but also a snooze fest that may leave you facing a 90-minute nap"
If I found something to be an elegant production shining with authentic emotions, there is no WAY that could possibly go hand in hand with taking a nap.
And I DID find A Catered Affair to be an elegant production shining with authentic emotions. And I was riveted and touched by the simple direction, the realness of the characters, and the beauty of both the score and physical production, not to mention the top notch acting.
I think most of the reviews we will see tonight are going to have critics naming positive things about the show, but then putting it down as a whole. I think most critics will not be brave enough to praise the show overall, when they know it may not please mainstream audiences. They will acknowledge certain merits, but back off from the 'two thumbs up', because this is a genuine, small, unconventional piece.
I hope I'm wrong about the critics though.
"It is an elegant production that shines with authentic emotions, but also a snooze fest that may leave you facing a 90-minute nap"
If I found something to be an elegant production shining with authentic emotions, there is no WAY that could possibly go hand in hand with taking a nap.
And I DID find A Catered Affair to be an elegant production shining with authentic emotions. And I was riveted and touched by the simple direction, the realness of the characters, and the beauty of both the score and physical production, not to mention the top notch acting.
I think most of the reviews we will see tonight are going to have critics naming positive things about the show, but then putting it down as a whole. I think most critics will not be brave enough to praise the show overall, when they know it may not please mainstream audiences. They will acknowledge certain merits, but back off from the 'two thumbs up', because this is a genuine, small, unconventional piece.
I hope I'm wrong about the critics though.
[title of show] on Broadway. it's time. believe.
#32
Posted: 4/17/08 at 4:33pm
I had the very SAME thought when I got to that link, Anakela.
I was reading the caption, and had to stop and go back to the beginning, thinking to myself, "This is ONE sentence?!".
I was reading the caption, and had to stop and go back to the beginning, thinking to myself, "This is ONE sentence?!".
#33
Posted: 4/17/08 at 4:50pm
I think it's interesting how the musical is described as being so grim and glum, yet the logo design is reminiscent of a light-hearted Neil Simon comedy. It does sound like something of a contradiction. When watching the film, I couldn't help hoping they would lighten it up a bit as the tone of the piece was so oppressive (though Bette's wooden performance probably had a lot to do with it). Or if they were going to approach it as a drama, then they need to inject a bit more depth into the characters' relationships and flesh them out a bit more. I haven't seen it, so I can't say anything about the result, but I did see it as something of a risky show to put together.
"What can you expect from a bunch of seitan worshippers?" - Reginald Tresilian
#34
Posted: 4/17/08 at 4:57pm
Maybe they chose the logo because it was exactly the opposite of what Caroline, or Change's was, fearing that it wouldn't attract people to the show.
#35
Posted: 4/17/08 at 5:39pm
I saw it Tues night and am still shaking from it.
It is the most gorgeous, fluid, subtle and profoundly moving show I've seen in years...
I agree with Jrby--plays sing too. As long as you care about the characters and they move you, there is no difference between musicals and plays.
This works brilliantly as as musical. It just haunts you. A completely new form has been invented here. Just perfect, IMO.
Not for everyone, though...*sigh*
I am worried.
It is the most gorgeous, fluid, subtle and profoundly moving show I've seen in years...
I agree with Jrby--plays sing too. As long as you care about the characters and they move you, there is no difference between musicals and plays.
This works brilliantly as as musical. It just haunts you. A completely new form has been invented here. Just perfect, IMO.
Not for everyone, though...*sigh*
I am worried.
"It's not so much do what you like, as it is that you like what you do." SS
"Time flies like an arrow, fruit flies like a banana." GMarx
"Time flies like an arrow, fruit flies like a banana." GMarx
#37
Posted: 4/17/08 at 6:55pm
Talkin' Broadway is Negative:
While the musical is more contemplative than the film, delving deeper into the disappointments of Aggie and Tom's marriage, it's also angrier, less optimistic about the endurance of love, and altogether more unpleasant a picture of a tiny crisis with giant implications. Bucchino's music contributes the insouciantly soupy smolder of an airport-lounge soundtrack, but his lyrics are pedestrian and unenlightening, extensions of dialogue that don't readily sing.
In accordance, Doyle continues to advance his theories (expressed in his productions of Sweeney Todd and Company) that easy emotions, eye contact between actors, and common sense in staging should be avoided whenever possible, which seldom allows for involving theatre. (The sliding walls and fire escapes that constitute David Gallo's set, occasionally augmented by Zachary Borovay's period-photography projections, are equally distancing.) Only Tom's explosive "I Stayed," in which he rails against Aggie's endless criticisms, connects in a visceral way; Wopat's fiery repudiation of the usually sedate Tom is a turnabout of surprising power in a show not otherwise given to such extravagances...
http://www.talkinbroadway.com/world/ACateredAffair.html
While the musical is more contemplative than the film, delving deeper into the disappointments of Aggie and Tom's marriage, it's also angrier, less optimistic about the endurance of love, and altogether more unpleasant a picture of a tiny crisis with giant implications. Bucchino's music contributes the insouciantly soupy smolder of an airport-lounge soundtrack, but his lyrics are pedestrian and unenlightening, extensions of dialogue that don't readily sing.
In accordance, Doyle continues to advance his theories (expressed in his productions of Sweeney Todd and Company) that easy emotions, eye contact between actors, and common sense in staging should be avoided whenever possible, which seldom allows for involving theatre. (The sliding walls and fire escapes that constitute David Gallo's set, occasionally augmented by Zachary Borovay's period-photography projections, are equally distancing.) Only Tom's explosive "I Stayed," in which he rails against Aggie's endless criticisms, connects in a visceral way; Wopat's fiery repudiation of the usually sedate Tom is a turnabout of surprising power in a show not otherwise given to such extravagances...
http://www.talkinbroadway.com/world/ACateredAffair.html
"Y'know, I think Bertolt Brecht was rolling in his grave."
-Nellie McKay on the 2006 Broadway production of The Threepenny Opera, in which she played Polly Peachum
-Nellie McKay on the 2006 Broadway production of The Threepenny Opera, in which she played Polly Peachum
#38
Posted: 4/17/08 at 6:55pm
I agree about 90% with your comments Frenzy. A Catered Affair and Cry Baby played close to the same time in San Diego. The shows are like polar opposites. At the time I happened to like both; but with ACA you have to have a different frame of mind and appreciate the subtle beauty.
It seems to me that with a thoughtful show there is less room for error. All the elements must mesh especially if you plan on finding a large enough audience to have a commercial sucess. I hope and expect the critics will find the quality within the production.
In an earlier post, Hushpuppy, referring to Cry Baby said he felt that the whole was better than the individual parts. With A Catered Affair some may feel the opposite but many reviewers may see it differently
It seems to me that with a thoughtful show there is less room for error. All the elements must mesh especially if you plan on finding a large enough audience to have a commercial sucess. I hope and expect the critics will find the quality within the production.
In an earlier post, Hushpuppy, referring to Cry Baby said he felt that the whole was better than the individual parts. With A Catered Affair some may feel the opposite but many reviewers may see it differently
#39
Posted: 4/17/08 at 7:02pm
Variety is Mixed-to-Positive:
Even on the relatively cozy stage of the Walter Kerr -- a playhouse only recently given over to musicals -- the quietness and intimacy of "A Catered Affair" echo in ways not always helpful to the work. And handsome as they are, the collaborative pictures conjured by David Gallo's Bronx apartment block set, Zachary Borovay's sepia-toned projections and Brian MacDevitt's muted lighting sometimes further the impression of a miniaturist portrait on a big canvas.
But even if the show's ideal staging might be as a pared-down chamber piece years from now, it's a testament to the rigorously unflashy approach of Bucchino, Fierstein and a disciplined cast that its sentiments never for a moment feel manufactured...
http://www.variety.com/review/VE1117936829.html?categoryid=33&cs=1
Even on the relatively cozy stage of the Walter Kerr -- a playhouse only recently given over to musicals -- the quietness and intimacy of "A Catered Affair" echo in ways not always helpful to the work. And handsome as they are, the collaborative pictures conjured by David Gallo's Bronx apartment block set, Zachary Borovay's sepia-toned projections and Brian MacDevitt's muted lighting sometimes further the impression of a miniaturist portrait on a big canvas.
But even if the show's ideal staging might be as a pared-down chamber piece years from now, it's a testament to the rigorously unflashy approach of Bucchino, Fierstein and a disciplined cast that its sentiments never for a moment feel manufactured...
http://www.variety.com/review/VE1117936829.html?categoryid=33&cs=1
"Y'know, I think Bertolt Brecht was rolling in his grave."
-Nellie McKay on the 2006 Broadway production of The Threepenny Opera, in which she played Polly Peachum
-Nellie McKay on the 2006 Broadway production of The Threepenny Opera, in which she played Polly Peachum
#40
Posted: 4/17/08 at 7:06pm
The reviews thus far are really taking aim at Mr. Fierstein. I think it's especially bad because of his double involvement (both as book writer and actor) and some critics' displeasure with his endeavors in each category, but it's almost hard for me to read. The man's heart is clearly in this project and it's going to hurt.
#41
Posted: 4/17/08 at 7:28pm
Hey, Matthew Murray- go screw yourself! Thanks! :)
Linda Winer's track record this season has been rather poor. I mean, come on! HOW on EARTH can you possibly think LuPone was better at City Center last summer? And now this. I normally have great respect for this woman, but this season I have disagreed with her almost constantly (Certainly not on South Pacific and not on Sunday... but that's about it).
It hurts me to read the attacks on Harvey Fierstein as well H. Higgins. Obviously he loves this project. He has been wanting to do it for years. His book was simply wonderful. I don't know why he's being shred to pieces for it. And despite what most of our amigos here on BWW have to say, he sings "Coney Island" very nicely. It's quite moving to hear him sing it.
And Tom- While Grey Gardens and Light in the Piazza shook me a little more than Catered Affair, I'm glad to hear I'm not alone in being a fan of it.
I wonder what stupidity Clive Barnes will spurt out this evening. Better yet, what stupidity will his headline writer come up with?
Hopefully Ben will like it. When shows like this open, I miss Frank Rich reviewing for the Times. He would surely be a supporter of this show. At least, I think so.
Linda Winer's track record this season has been rather poor. I mean, come on! HOW on EARTH can you possibly think LuPone was better at City Center last summer? And now this. I normally have great respect for this woman, but this season I have disagreed with her almost constantly (Certainly not on South Pacific and not on Sunday... but that's about it).
It hurts me to read the attacks on Harvey Fierstein as well H. Higgins. Obviously he loves this project. He has been wanting to do it for years. His book was simply wonderful. I don't know why he's being shred to pieces for it. And despite what most of our amigos here on BWW have to say, he sings "Coney Island" very nicely. It's quite moving to hear him sing it.
And Tom- While Grey Gardens and Light in the Piazza shook me a little more than Catered Affair, I'm glad to hear I'm not alone in being a fan of it.
I wonder what stupidity Clive Barnes will spurt out this evening. Better yet, what stupidity will his headline writer come up with?
Hopefully Ben will like it. When shows like this open, I miss Frank Rich reviewing for the Times. He would surely be a supporter of this show. At least, I think so.
#42
Posted: 4/17/08 at 7:44pm
Hey, Mixed-to-positive ain't bad. Hopefully the reviews continue in a more positive direction. I can't wait to see it on the 26th.
"I'm a whirling mass of contradictions." - Douglas Carter Beane, The Little Dog Laughed
Equus (11/8), Billy Elliot (11/8)
Equus (11/8), Billy Elliot (11/8)
#43
Posted: 4/17/08 at 8:14pm
I would consider the Variety review possitive. It's not really mixed.
#44
Posted: 4/17/08 at 8:19pm
RE: Variety review. Yes, it's better than the other two so far, but isn't what I'd call a "money review" that will make people want to see it. But it's too early to call, I guess.
BroadwayEd
#46
Posted: 4/17/08 at 8:46pm
'A Catered Affair' was a snooze fest in San Diego and it'll be a snooze fest on Broadway. The only difference is that in NY it will lose millions of dollars.
Such great talent. Such poor material. It happens!
Such great talent. Such poor material. It happens!
Updated On: 4/17/08 at 08:46 PM
#47
Posted: 4/17/08 at 8:48pm
The Associated Press is Positive
Funny thing about silences on stage. They can enhance what follows. And there are plenty of quiet, affecting moments in "A Catered Affair," a most unusual little musical that has the courage of its low-key, yet heartfelt convictions...
http://www.canadaeast.com/entertainment/article/271362
Funny thing about silences on stage. They can enhance what follows. And there are plenty of quiet, affecting moments in "A Catered Affair," a most unusual little musical that has the courage of its low-key, yet heartfelt convictions...
http://www.canadaeast.com/entertainment/article/271362
"Y'know, I think Bertolt Brecht was rolling in his grave."
-Nellie McKay on the 2006 Broadway production of The Threepenny Opera, in which she played Polly Peachum
-Nellie McKay on the 2006 Broadway production of The Threepenny Opera, in which she played Polly Peachum
#48
Posted: 4/17/08 at 9:05pm
But then, the composer has a marvellous cast, starting with the impeccable Prince, to sing his compositions. The woman is a joy. We always knew she could sing. Here she gets to excel at acting, often in moments of stunning silence. Prince has large, liquid eyes and a tremulous demeanour that allows her to project volumes without uttering a word.
Her character, Aggie, is a housewife living in a world of diminished dreams. Her disappointments over her own troubled marriage, not to mention the death of her son in the Korean War, have closed her off from her husband.
A Catered Affair" demands serious attention from an audience, but the effort is worth it. It's a bittersweet musical that is unafraid to stand still and let theatregoers linger in the nuance of love lost and then, most joyously, found.
Her character, Aggie, is a housewife living in a world of diminished dreams. Her disappointments over her own troubled marriage, not to mention the death of her son in the Korean War, have closed her off from her husband.
A Catered Affair" demands serious attention from an audience, but the effort is worth it. It's a bittersweet musical that is unafraid to stand still and let theatregoers linger in the nuance of love lost and then, most joyously, found.
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
Updated On: 4/17/08 at 09:05 PM
#49
Posted: 4/17/08 at 9:07pm
I think those may be spoilers, rossscoe(au)
Listen, I don't take my clothes off for anyone, even if it is "artistic". - JANICE
#50
Posted: 4/17/08 at 9:12pm
Thank you, AP, thank you!
Let's keep the good vibes a-comin'!
Let's keep the good vibes a-comin'!
Tickets From $59
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