AMERICAN PSYCHO Previews — Page 19

I actually meant to say the floor of the set but I think you guys realized that.

I agree with a Tony for lighting and even set. A shame there is no longer a Tony for sound. Or is there now?

Updated On: 4/15/16 at 11:23 PM

Out of all the shows in New York this is the one that made me wish I lived in New York to see. Well this and Hamilton.

I loved the movie but I also loved the book which I feel is a much more divisive thing to say. I think the book is a true piece of American literature that is just as relevant today as when it was written.

Whats interesting its the only book I can think of where I would use the words repetitive and monotonous in positive ways. The book is written as if its a mallet coming down on your head.

It's truly is a shame that the Tony for sound design isn't given anymore. This show has some of the best sound design I've ever heard, the mix is incredible. I was reminded of how good it is at American Psycho when I saw Wicked last week and was confronted with how thin the entire show sounds. I guess maybe part of that is the barn that is the Gershwin but still... From the moment you walk into the Schoenfeld it's wonderful. And there's the sheer volume. Someone said Tuck Everlasting was complaining about how loud it was, but I honestly think it needs to be as loud as it is...especially during "Hip to Be Square"...that scene is burned on my mind. I'm seeing it again Sunday and I am so pumped. Curious to see what, if anything, has been changed since the first preview week.

Updated On: 4/15/16 at 06:58 PM

I caught this last night. I have seen every new musical to open on Broadway this season except for Hamilton (I have a ticket for my birthday on July 1st!), but out of all the new musicals I have seen so far this season, American Psycho takes the ENTIRE cake. This show is unlike anything I have ever seen in the BEST ways possible.



American Psycho is an explosive orgy of sex, violence, fashion, and eroticism. Sure, the second act is messy, but I didn't even care. Act 2 has the most KILLER (pun intended) number in the entire show - Killing Spree. Just WOW. The first act is so solid and grounded with one great number after another. The audience can tell from the first five seconds of the show exactly what kind of evening they are in for.



While others here have said this show doesn't know what it is trying to be, I have the opposite opinion. This show never ever wavers in what it is trying to be. Yes, the second act is weaker than the first, but I was genuinely hooked and caught up in the show during both acts. Both acts held my attention.



The cast is just out of this world. I would engrave Ben Walker's name on the Tony for best actor now if I could. Helene Yorke (who I LOVED in Bullets) KILLS is. I am so glad to have her back on Broadway. Jen Damiano does VERY well with what little she has to work with. Alice Ripley... wait... she was in this?



This show is sensory overload from the second the show starts. Strobe lights, haze, ear splitting sound design (and a beautiful sound design at that)... Projections are ever present. It is A LOT to take in, but in the BEST way possible. I have honestly never seen a show like American Psycho in my life or on Broadway, and I HIGHLY recommend this. It is unique, creative, innovative, and just out of this world.

Cant wait to get there on April 23rd! Not too far away!

Truly, the people still complaining about the size of Alice Ripley's role need to get over themselves and their own delusion that winning a Tony Award elevates you into some fantasy world where you suddenly get paid a free monthly stipend and a pedestal which you can sit your Tony (and your career) on for the rest of your life.

Broadway actors are not 'stars." They don't make millions of dollars. They can't retire from playing a leading role six years ago. Alice Ripley is doing a fun supporting / featured ensemble role in one of the most exciting and risky new shows of the season. Not only is she probably happy for the work, she is probably having a blast and thrilled to be involved. And she's on stage in almost every scene. Who says her talents are being wasted?

Updated On: 4/16/16 at 02:54 AM

Whoever thinks this flopped in London is delusional, it had a limited run and sold out within minutes. The show didn't transfer to the West End (it's reviews were mainly positive so it could have easily done) because of Matt Smiths schedule.

I saw this last night, and although I enjoyed it quite a bit, it also reminded me quite a bit of GHOST (which is not a good thing). I'm always a substance over style theatre goer and huge flashy shows tend to turn me off. However, in this case, it worked more than other flashy shows I've seen.

The Cast: This is the role that Benjamin Walker was born to play. I can't imagine any else in that role because Walker is just a walking example of cold, chiseled psychosis. However, the real highlight of the night was Helene Yorke, whose character more or less epitomizes the word "vapid", but manages to nail every joke and interaction, and I think this is a step up for her from BULLETS OVER BROADWAY. As previous stated, Jennifer Damiano makes the best of a meatless role and Alice Ripley is a glorified ensemble member. Also, I haven't wanted to do so many naughty things to a male ensemble since PRISCILLA.

The book: Pretty solid and has more detail than the movie. Also, if you are looking for line-for-line delivery of classic scenes from the movie, there are some, but not many of them.

The score: Hit or miss. Some songs hit the nail on the head and were satiric masterpieces (particularly "Cards" and "You Are What You Wear", while others seemed to be place holders. Only some of the 80s songs actually fit well. Jennifer Damiano's solemn rendition of "Everybody Wants To Rule The World" in Act I was a highlight, as well as the obligatory "Hip To Be Square", but the use of "In The Air Tonight" and "Don't You Want Me" didn't serve to move the story forward at all.

The Design: An audiovisual feast with some lame moments, particularly with the opening number and "You Are What You Wear"...Seriously, what it gained by displaying the words in the lyrics on the screens? It's always been a pet peeve of mine.

Overall: 6/10 - It's going to continue to be a very divisive show, and I have a feeling it might go the way of GHOST - Sold out hit in London that sinks in a few months on Broadway.

I stand corrected, a big hit at the Almeida. That doesn't excuse the show's lack of entertainment, nor its sledgehammered idea of "humor" (Helene York for a Tony? omg). And yes, Alice Ripley IS a Broadway star, and yes, it's always great that she's working, but please, do not tell me how "happy" she is to have what amounts to three walk-ons. I can only assume that the role was bigger originally, and had been cut down during rehearsals and/or previews.

I'd be curious to see this now mainly because of the complaints about the 2nd act. The idea of the show getting darker or messy in the 2nd act seems to follow the movie and book to a degree. In both places, especially the novel, there is no evolution or change to the character with exception that his mental state which is deranged in the beginning only gets more confused and dark as the story goes on. Or as Bateman his mask is starting to slip. Would this be a satisfactory explanation as to why the 2nd act is so different than the first.

VotePeron said: "How are the side mezz seats at the Schoenfeld? "

Pardon the late reply. I'd recommend left side over right; sat in both now and it seems like you see a bit more from the left. I couldn't see the painting on stage left from right mezz.

I just saw it for the second time this afternoon, and I think it's just about damn near as good as they're going to get it. They've tightened a lot of the dialogue since I saw it first week of previews, shortened some scenes a bit. I want to say they took out the first "Clean" from the beginning of act II and now just have the acapella version sung later. I'm so into this show, I hope it has a good life on this side of the pond but I do wonder if it will be able to find an audience. The couple to my left hated it, the couple to my right loved it. It's just one of those shows, for better or worse, that you either love or hate.

I also saw it for the second time today, after seeing it the first week of previews. So amazing to see the work they've done - They have cut 15 minutes from the running time, and the show is streamlined and in great shape.

They've changed a good bit, but I'm sure there's more that I didn't even realize. Here's what I noticed:

- Duncan Sheik added buttons to the ends of most songs. Most do not tread off quietly like they used to, or as on the London recording. Selling Out especially now ends with a sharper, and louder finishing cord.

- The book appeared to be more streamlined and clear. It was easier to follow this time.

- "Clean" has been cut down, but does the same job.

I really, really love this show. Hope the critics do too!