Posted: 4/8/16 at 8:57pm
I was wondering that also Kad. I was in the mezz when I saw it and it didn't appear that anyone got splattered at that point. Wonder if it is at the end of Act 1?
Posted: 4/8/16 at 9:05pm
The burst of blood during the first stabbing in either Killing Spree or I Am Back (can't remember) did come out towards the audience but not far enough to hit anyone (as far as I could tell) last night. It did look like it came dangerously close. Some landed on the carpet right in front of us.
Updated On: 4/9/16 at 09:05 PM
Posted: 4/10/16 at 1:05am
Saw the show tonight.
Who can say what constitutes a great or timeless musical? Sound of Music? Cabaret? Les Miz? Phantom? I watched as an axe was taken to all of them during AP. I think it's a show that rewrites what Broadway theatre is about.
If it has flaws, I didn't get to dwell on them. The lighting, projections, music, and choreography are so fast and relentless that I couldn't tell if there was anything wrong. Granted, sociopathy is a bizarre subject for a musical, and the source is steeped in irony. But I think that, in its way, the musical stuck to the core message and kept the irony. It's not word-for-word, but it represents the book and the movie as best it can given the game-change.
As far as blood, there were six splats at the end of Act I. Maybe there wasn't enough live splatter in Act II for some of the posters, but "Killing Spree" was probably the grisliest thing I ever saw on a stage. I don't expect the slowdown during Patrick's and Jean's scene to be paced any quicker; it seems like it's deliberate, for better or worse.
Alice Ripley fans, don't get your hopes up; her parts could've been played by anyone. I'm not sure what attracted her to the role, unless she needed the work. Her scenes on the stage are negligible and only slightly forward the plot.
I loved the group curtain call - it's so very gratifying when a cast prefers their work to be seen as a team effort.
Last night I was in the audience when Andrea McArdle sang "Tomorrow" after the bows for Disaster! Tonight I watched Annie and every other fossilized musical get chopped into little pieces. I'm thrilled that Broadway is hosting this extraordinary musical onslaught, and I hope it runs long enough that I can see it a few more times.
Posted: 4/10/16 at 1:21am
I saw the show last night and had a variety of feelings through the evening. I felt a bit overwhelmed during the first act. Always stimulated but I felt a bit assaulted. I think it forced me to keep a bit of a distance from the material because of it. Unlike many posters on this thread, I liked the second act. The piece slowed down and let the book do more of the heavy lifting. The creative team also made the deliberate choice to play the act without any applause breaks. During the first act where the musical sequences had pronounced buttons allowing for audience response, act two purposely played through the act seamlessly. It helped build the tension and kept me more focused on the story. When it was over and my boyfriend and I stopped for dinner we realized that the show really stayed with us, so all in all I would describe it as a daring and provocative evening that actually attempted to carve out (pun intended) a rather different musical theatre experience while respecting the basic craft of the medium.
I do have one question for anyone who has seen the show. During the opening number, Ben Walker looked down at the first row and said/sung (para-phrase here) "are you going to rattle that paper all night?" I actually couldn't tell if that was an improv out of frustration with an audience member or if it was a scripted moment. Can anyone help me with this?
Updated On: 4/10/16 at 01:21 AM
Posted: 4/10/16 at 2:50am
nycward said:
"I do have one question for anyone who has seen the show. During the opening number, Ben Walker looked down at the first row and said/sung (para-phrase here) "are you going to rattle that paper all night?" I actually couldn't tell if that was an improv out of frustration with an audience member or if it was a scripted moment. Can anyone help me with this?"
That's not in the script. He was aggravated by a patron who was rattling the ice in his cup.
Posted: 4/10/16 at 11:00am
Saw this Saturday night. Pretty intense story. The whole production is quite stylized (projections, dancing, acting) to reflect the 80's-90's as well as the film. Quite different than anything on Broadway now. And definately not for the kiddies.
Act 2 seemed to drag on and on. It's difficult to connect with a show with so little emotion except anger. Patrick is so anrgy, so often.
The final song is about the story not being allegory or cautionary tale. But isn't it? If there is any Patrick Bateman inside of us, aren't we to learn from the story and control ourselves when necessary?
That being said, the man of the night is Benjamin Walker. He was onstage almost the entire evening. A demanding role for sure. But I left thinking, why does he (the actor) want to tell this story (the character) 8 times per week? The audience seemed drained by the end and the applause was mediocre until Walker took his final bow. No obligatory standing ovation except for a small group sitting in the orchestra.
I'm thinking this will be a hard sell. I give the production kudos for trying something that may not be so popular with the masses. And touring? Not likely.
Posted: 4/10/16 at 11:27am
The final song is about the story not being allegory or cautionary tale. But isn't it? If there is any Patrick Bateman inside of us, aren't we to learn from the story and control ourselves when necessary?
I think that is exactly the point the musical is making. But, of course, a character like Patrick Bateman is ultimately too selfish and self obsessed to be able to step out of his reality to offer his experience as a cautionary tale. But in his denial, that is exactly what we get.
The more I think back the performance I saw, the more I think I am understanding the structure of the show. Act 1 is a comedic "satire" of the mundane world and existence that is driving Patrick Bateman slowly insane. In Act 2, his fantasy life (insanity) has taken over, and in contrast, the outside world has become less satirical but more real and threatening.
I actually think the musical gives Patrick Bateman more of a character arc than in the book or film. I feel like in the second act, we do see the character begin to weigh his conscience. Bateman certainly 'sees' more humanity in the second act (particularly in his scenes with Jean and his mother) and it conflicts and challenges the feeling of being "alive" he is hoping to achieve emotionally through his murders. The grand irony is, of course, that nobody believes "his story" (whether real or only imagined) and without the emotional escape the feelings the murders provide him, he is left to be trapped in the "reality" of the mundane world he has confined himself to.
I liked the earlier post that compared this production to CABARET. I have a feeling AMERICAN PSYCHO is one of those productions that historically, like CABARET, will be looked back on as a game changer and probably ahead of its time.
Updated On: 4/10/16 at 11:27 AM
Posted: 4/10/16 at 11:43am
Thanks Queen Alice. This is definately a show that can leave you with lots to think about. I appreciate your feedback. Bateman is a lead character who somewhat reminded me of Sweeny Todd. He's hard to root for; difficult to really like. And yet he is the lead character.
Posted: 4/10/16 at 11:57am
I view SWEENEY TODD as more of a morality tale; AMERICAN PSYCHO is more a commentary. It's easy to say, 'oh, I don't relate to this Patrick Bateman character. How can I root for someone so obsessed with materialism and superficiality;" ignoring of course that we are sitting in 145 dollar seats, sipping a 25 dollar cocktail, thinking about our 6 AM appointment with our personal trainer the next morning.
AMERICAN PSYCHO is a twisted exaggerated take on the pursuit of the American Dream. And we may say we are nothing like the people on the stage, but of course most of us are still pursuing some variation of that dream anyway.
Posted: 4/10/16 at 11:47pm
I saw this in previews last week and thought Act 1 was riotously funny, a perfect encapsulation of the tone that makes the film work. I do think Act 2 is a total mess. That being said, I enjoyed myself immensely and Ben Walker is an unbelievable star -- couldn't take my eyes off of him. I just don't much care about seeing Patrick Bateman humanized; he's an allegory/satire, not a real person, so to give him an emotional arc seems truly beside the point. I wish they would have written in more songs for Ben Walker to let fly on as his mania ramped up; a revamped "Not a Common Man" or "Clean" would let him really show off his voice. I would much prefer watching him belt something than the tepid numbers the women get in Act 2. His numbers get stepped on a lot, too; I think they just need to write pauses into the show after the musical numbers because there's no time to clap for him at any point.
There's so much that's good there, and I was laugh-crying by the end of Act 1, but I don't know that Act 2 is able to be saved with the current book. They made a conscious choice to change the bizarre-yet-fun tone from Act 1 to something more serious in Act 2, but with this material, the tone is *everything*. The serious tone doesn't work for me. I'd actually be interested in going back in a few months and seeing if they've tightened or adjusted it in some way.
Has anyone seen Ben Walker at the stage door yet? He didn't come out the night I was there, nor did Jennifer Demiano or Alice Ripley.
Posted: 4/11/16 at 12:14am
Did the poster if this question see it Friday or Saturday night? I was there Friday, and he said it.
Posted: 4/11/16 at 10:47am
Yes. Friday night it was. Someone posted the response a bit up the page. Apparently he was annoyed with an audience member.
Posted: 4/11/16 at 12:18pm
Well, it's almost a week since I saw the show, and it has had time to 'settle in'. The more I think about it, the more I know I need to go back. A previous poster said Act I was sensory overload, and I agree. It is what I felt, and when I reflect on it outside of the moment it made me feel what (I think) I was supposed to feel-a little overwhelmed and overstimulated. I actually hit the bar after Act 1 (which I usually don't do) and walked outside for a minute. The 2nd act, which initially left me feeling a little let down, is where the crazy takes over---but does it?
The visual elements again add to this feeling - sometimes it feels just like too much. Again-I think that is very deliberate. The is an odd 'balance' to the unbalanced evening.
Posted: 4/11/16 at 12:34pm
I think just about everything in this production is deliberate. From the sensory overload first act to the introspective 2nd act (descent into boredom when the murders no longer thrill Patrick) to the end when fantasy is gone and the character is left with no exit (f*ck you - go back to your own mundane life). The fact that the structure is off-putting to many audience members who want it to be more consistent ( 'comfortable' ) is, IMO, a good thing.
I'm still processing what I saw last week, but I suspect it all works.
Its kind of like being electrocuted in a single jolt and a then a week later feeling the slow burns the show has given you.
Updated On: 4/11/16 at 12:34 PM
Posted: 4/11/16 at 3:11pm
I have to say, I didn't care for it -- I was certainly interested and impressed, but I won't go back, nor can I truly recommend it to any friends and family. I agree with so much of what has been said, great performances, great production values....but it just didn't "do it" for me. And I really didn't care for the score much. (which saddens me)
I was with a large group and opinions were all over the place, from loathing to loving it. (My son certainly was in the love category!)
Posted: 4/11/16 at 5:13pm
Anyone know if they are selling merchandise online yet? When I went they didn't have any medium t-shirts at all...
Posted: 4/12/16 at 2:41pm
QueenAlice said: "Its kind of like being electrocuted in a single jolt and a then a week later feeling the slow burns the show has given you."
I will test your theory; I'm going back exactly one week later (this Saturday) to see it again, this time with my son, who loved the book and movie. The show is such an onslaught that I'm looking forward to having the luxury of studying it more closely this time.
Posted: 4/12/16 at 10:47pm
I saw the show over a week ago. I believe AMERICAN PSYCHO The Musical is COMPANY for The Millennials. There are no spoilers in my piece, nor any critical comments on the production at the Schoenfeld. I will say that since I bought the London Cast recording last Friday I have listened to it continually.
https://joseonbway.wordpress.com
Posted: 4/14/16 at 12:05am
Saw the show tonight and loved it. Like most posters have said, Act One is hot, funny, campy, creepy and delicious. Act Two is different in tone but I still liked it.
AP challenged me in many new and exciting ways. It was wild and original
The rotating "statues" of Christmas party guests was genius. Pure genius.
Ripley is an ensemble member. She must be devoted to the piece. She plays several small roles and dances in a couple ensemble numbers. She's a true actress. If I were her, I'd absolutely want to be a party of this. Good for her for not leading with her ego.
I'd love to see Yorke get a Tony nod since she was robbed of one for Bullets. She was great in this. Damiano has a drab and thankless role.
Also a cell phone rang during Act 2. Walker stayed in character went to the lip of the stage and glared menacingly at the offender. The audience cheered and he resumed the scene. He has a great character to do that type of thing with.
Updated On: 4/14/16 at 12:05 AM
Posted: 4/14/16 at 10:16am
I have seen the show twice now (2nd preview and then one week later) and did not notice any visible changes to the piece, does anyone know of any changes they've done during the preview period?
A small pet peeve I had was that Duncan Sheik didn't write proper buttons/endings to the two best songs of the show such that they barely receive applause as the audience is confused if they really ended or not (Selling Out and You are What You Wear). I assume this won't be changed but just wanted to see if anyone else felt the same way.
Posted: 4/14/16 at 10:31am
Now that you mention it: YES! I felt the same way about some of the music not ending with a specific button!
Posted: 4/14/16 at 10:43am
I missed this if it was mentioned here in the thread but did anyone realize that the set is a cassette tape?
Updated On: 4/14/16 at 10:43 AM
Posted: 4/14/16 at 10:51am
uncageg said: "I missed this if it was mention here in the thread but did anyone realize that the set is a cassette tape?"
...wow. That's pretty brilliant, actually.
Posted: 4/14/16 at 11:12pm
phan24 said: "A small pet peeve I had was that Duncan Sheik didn't write proper buttons/endings to the two best songs of the show such that they barely receive applause as the audience is confused if they really ended or not (Selling Out and You are What You Wear). I assume this won't be changed but just wanted to see if anyone else felt the same way."
I will second that. The entire second act was short on reaction from the audience; most of the songs (as it were) received no response. Personally, I didn't mind - the second act is so grim that it's hard to go "Woo Hoo!" for anything. Same with the curtain call, the audience was still too stunned. Those of us who could snap out of it went nuts, though.
Gotta say, I'm a sucker for a reaction like that.
Posted: 4/14/16 at 11:17pm
Kad said: "uncageg said: "I missed this if it was mention here in the thread but did anyone realize that the set is a cassette tape?"
...wow. That's pretty brilliant, actually."
DAMN, didn't even catch that. Thank you! I'll get to see it again this Saturday.
This should really should win Tonys for set design, lighting, sound, all the production stuff. If nothing else, the show has style - it's like being in a 90's music video.
