A Tale of Two Cities First Preview — Page 2

In the book, movie versions and all other incarnations, Lucie has been a real drip. I can understand a simp like Darney falling for her, but Sydney Carton?

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johnnyg- I actually don't have a problem with WSS or Carousel, because in each case the initial love/lust at first sight is crucial to the downfall of the relationship. The instant attraction and love propels the downward spiral of the story.

Also I don't think anyone would say that Carousel moves at a breakneck pace (and I LOVE Carousel btw!). The characters don't fall in love quickly to speed the plot along. They fall in love quickly because Julie and Billy's relationship is passionate, irriational and ultimately doomed. Plus the bench scene is so well-written we don't need more time to establish what each character wants out of the relationship.

It seems to me the only reason characters fall in love so quickly in A Tale of Two Cities is because they are trying to cover too much ground in too little time. We are told rather than shown that they are in love. Maybe it also had to do with lack of chemistry amongst the leads, but mostly I blame the writing.

In regards to your other question I have not read the book, but was familiar with story before seeing the show. I guess when I said that there were rich characters I meant the story provides for the possibility of richly drawn characters. I just didn't feel like much depth was probed. Everyone, save Sidney, just came off very one note.

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I saw the first preview as well. I got a totally different take on it. First off, I loved the show and thought it was amazing. I know that people have kept saying that they hear this score as a washed up Les Miserables. However, I just don't hear it. I find the score to be original and very beautiful. Sorry if my opinions don't match the general consensus on the forum.

I also felt like I was able to feel for the Characters. Yes, the character of Sydney Carton was the most developed. However, I was able to get the impression that Charles and Luci were in love and I was able to get a sense of the drama in it as well.

The audience really seemed to be into it. They were clapping and cheering the second the conductor lifted that baton. And, they were cheering and clapping again when the logo was projected on the scrim. I went out for a smoke at intermission (like I always do) and the general buzz among the audience seemed to be that people were liking it and that the general buzz was more positive then anything else. My prediction is that the show will get mixed reviews but get good word of mouth.

Grand Motel, I don't think Out Of Sight Out Of Mind, is a pop song. I think it has more of a pop feel to it then the rest of the score. If I HAD to compare it with another showtune (Which I loath doing when it comes to this show) I would say it is just as much a pop tune as On My Own from Les Miserables is.

I ended up getting student rush for the show. I got there a little after six for a 7PM curtain. I was located in the first row. Even though I enjoyed siting there, it is not the ideal place to sit for this show. I get the impression, that it is better to sit further back due to the massive sets in this show.

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I wouldn't say that. I would say it was more people were looking forward to it and were very happy that it was starting. I think the good buzz going around at intermission was nothing more then the audience's expectations being met.

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I'm just curious about people thinking that this show does not have a "pop" score. I would totally have to disagree. This is no Jule Styne, Cy Coleman, Jerry Herman, Richard Rogers, Stephen Sondheim or Frank Loesser score.

The reason that people, including myself, are saying it is like Les Mis/Jekyll is because songs like "You'll Never Be Alone," "If Dreams Came True," and "Little One" (and most of the rest of the score for that matter) could easily be put into those musicals and they'd fit right in. Even the titles of songs warn you that they are going to be bland.

The songs are not very character specific or plot driving. Instead, like many pop songs, they are generic musings on love and life. The lyrics are trite and cliched at best. Compare somthing like "My Best Girl" from Mame to "Little One." Although "My Best Girl" is a somewhat simple song, the melody is appropriately tender, and the lyrics enhance our understanding of the characters and their relationship. The same cannot be said for "Little One."

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Whizzer(etc.), I'm going to jump in here and disagree with your stance on the songs.

I do feel like some of them do have a pop-ish undertone to it, but they way they were performed onstage is utterly Broadway.

And though two or three songs are not plot advancing, the vast majority of the songs from the production ARE. Not every song needs to advance the plot in any given musical, and this is no exception. 80% of the songs DO advance the plot and many, such as "The Trial" and "The Letter" are phenomenally well-done pieces of music that are scenes by themselves.

BTW, you can find my review of the production here: https://forum.broadwayworld.com/readmessage.cfm?thread=975899&dt=5&boardid=1

WINSTON - "YOU'RE" NOT "YOUR". STOP USING "YOUR"

also... what merits are the score standing on??? It sounds like a combo of Jekyll and Les Mis. there's a reason for it. because it's true, ya dumbass.

whizzer is right on all accounts about the score. bravo for seeing that, whizzer! or hearing it for that matter.

I really hope that producers make the most out of previews to hammer out some of these issues. I think it can be really good if they keep focused on the artistic aspect of the show.

Also, it is going to be pretty difficult to develop all of the characters, there are a ton of them in book!

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Somethingwicked they are doing student rush tickets I work there

..and don't forget that Brandi played Emma in a different version of J&H, so I know they were really wanting that similar image/sound... Jenny Powers was in a workshop of ToTC before the Sarasota production, so that's not far off the mark either. I think Jessica was offered Gypsy before ToTC producers were even offered a theatre, so not sure if she was even available to be considered. Elena Shaddow was originally set to star in the Sarasota premier, but found out she was with child, so had to pull out... wonder if she's still interested?!