#1
Posted: 10/7/06 at 6:32pm
Got to the Schoenfeld box office at 9 AM to try and SRO today's show, not knowing any clear-cut policy. The line, at least 50 strong, streched from the doors of the Schoenfeld to under the Butley marquee. I stood in line, not thinking I'd get a ticket. To my surprise, I got the last SRO ticket for the matinee. A Note: They're now selling 12 tickets per show, 6 at center, and 6 at stage right. They're unlimited per person and both evening and matinee are sold at the same time. The evening show's SRO was sold out within 3.5 minutes.
The matinee was held for 15 minutes to accomodate, apparently, a group that was coming (but never arrived). There were 3 empty rows towards the back of the orchestra. We weren't allowed to sit, however.
That being said, it's safe to declare that A Chorus Line is one of the best things produced in 2006 on Broadway, second to Doyle's production of Sweeney Todd. I had never seen the original (before my time) and only the last 20 minutes of the film. Of the score, I was familiar with One and I Hope I Get It.
I couldn't relate to any of the characters, to be honest. Yes, I've wanted something THAT badly, but none of their problems could relate to mine. That hindered my liking of the show just a bit (I had little compassion for most of them, but did feel bad when so many dreams were dashed before the finale). It wasn't the characters that made the show, it was the outstanding dancing. Give these people a special Tony....just give them something.
Paul's monologue was touching, a stand-out performance by Jason Tam. Not a dry eye in the theater. Charlotte D'amboise was phenominal as Cassie (someone give her a NEW show already!). Her Music and the Mirror brought down the house with, easily, a 2 minute applause break. Deidre Goodwin got much of the applause as Sheila, formerly a WASP, as Kelly Bishop put it, now a sassy black woman. They're both phenominal dancers. Michael Berressee is nice and cold as Zach. However, his monotone seems out of place, though, and his voice coming from the back of the Orchestra through the show is constantly jarring. Natalie Cortes is another standout as Diana. She, also, got long applause breaks for her songs. The rubber-bodied James Lane as Ritchie stole the show. He is a wonder.
Notable mentions should go to (in this order) Jessica Lee Goldyn, Mara Davi, Chrissie Whitehead, Tony Yazbek, Alisan Porter, and Michael Paternoso for their outsanding work.
Paul McGill was out, Mike Cannon was on. His Mark was very nice (but I have nothing to compare it to, so I'll leave it at that).
The crowd was fairly appreciative, with an odd amount of applause during the Finale. As each actor bowed, they applauded, stopped, and then started again, as opposed to continuous. Many lines were greated with great applause, and, of course, the ovations after the songs.
I had a great afternoon, highlighted by meeting the wonderful actors at the stage door (they're all so nice) and picking up the CD in the lobby. I shall give it a listen later.
The matinee was held for 15 minutes to accomodate, apparently, a group that was coming (but never arrived). There were 3 empty rows towards the back of the orchestra. We weren't allowed to sit, however.
That being said, it's safe to declare that A Chorus Line is one of the best things produced in 2006 on Broadway, second to Doyle's production of Sweeney Todd. I had never seen the original (before my time) and only the last 20 minutes of the film. Of the score, I was familiar with One and I Hope I Get It.
I couldn't relate to any of the characters, to be honest. Yes, I've wanted something THAT badly, but none of their problems could relate to mine. That hindered my liking of the show just a bit (I had little compassion for most of them, but did feel bad when so many dreams were dashed before the finale). It wasn't the characters that made the show, it was the outstanding dancing. Give these people a special Tony....just give them something.
Paul's monologue was touching, a stand-out performance by Jason Tam. Not a dry eye in the theater. Charlotte D'amboise was phenominal as Cassie (someone give her a NEW show already!). Her Music and the Mirror brought down the house with, easily, a 2 minute applause break. Deidre Goodwin got much of the applause as Sheila, formerly a WASP, as Kelly Bishop put it, now a sassy black woman. They're both phenominal dancers. Michael Berressee is nice and cold as Zach. However, his monotone seems out of place, though, and his voice coming from the back of the Orchestra through the show is constantly jarring. Natalie Cortes is another standout as Diana. She, also, got long applause breaks for her songs. The rubber-bodied James Lane as Ritchie stole the show. He is a wonder.
Notable mentions should go to (in this order) Jessica Lee Goldyn, Mara Davi, Chrissie Whitehead, Tony Yazbek, Alisan Porter, and Michael Paternoso for their outsanding work.
Paul McGill was out, Mike Cannon was on. His Mark was very nice (but I have nothing to compare it to, so I'll leave it at that).
The crowd was fairly appreciative, with an odd amount of applause during the Finale. As each actor bowed, they applauded, stopped, and then started again, as opposed to continuous. Many lines were greated with great applause, and, of course, the ovations after the songs.
I had a great afternoon, highlighted by meeting the wonderful actors at the stage door (they're all so nice) and picking up the CD in the lobby. I shall give it a listen later.
Updated On: 10/7/06 at 06:32 PM
