AMERICAN PSYCHO Previews- Page 19

[uncageg]

Posted: 4/14/16 at 11:23pm

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

[Bettyboy72]

Posted: 4/15/16 at 10:25am

I can't stop thinking about this show. I need to go back.

[kingfan011]

Posted: 4/15/16 at 10:31am

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.

[theatregeek6]

Posted: 4/15/16 at 11:44am

Bettyboy72 said: "I can't stop thinking about this show. I need to go back.

 

"This.  Me.

 

[nolanativeny]

Posted: 4/15/16 at 6:58pm

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

[jayinchelsea]

Posted: 4/15/16 at 11:30pm

There is something wrong when the best songs in a musical are the real ones from the 80s. Don't get me wrong, love Duncan Sheik's work for SPRING AWAKENING, but his score here was a lot of white noise. As was the show itself, imo. Every few moments we got another 80s reference to laugh at, but that palled pretty quickly. Aside from Benjamin Walker, who sings really well and looks amazing, there were no real performances here, because it was just one cliched character after another. Satirizing the 80s is one thing, but that was pretty much all the book did for 2+ long hours. I can see why this failed to find an audience in London.

I know the Times has been handing out raves lately, regardless of the quality, but hard to believe that this will get a pass from the critics. And any show that wastes the prodigious talents of Alice Ripley so flagrantly should be ashamed of itself.

[bwayphreak234]

Posted: 4/15/16 at 11:39pm

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.

[bwayphreak234]

Posted: 4/15/16 at 11:39pm

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 it. 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.

Updated On: 4/16/16 at 11:39 PM

[gfaustswa]

Posted: 4/16/16 at 12:01am

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

[RW3]

Posted: 4/16/16 at 12:16am

I know that this has been brought up before, but, is it possible that Alice Ripley is actually enjoying the roles she plays in American Psycho? Honestly, let's look at her career. Most of the Broadway shows she's been in except "Tommy", she has always played a leading or supporting role. I'm sure that has to get tiring, especially with doing Next to Normal.  In all the press videos, she seems perfectly happy with the roles she plays and I think we just have to accept that.

[QueenAlice]

Posted: 4/16/16 at 2:54am

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

[ajh]

Posted: 4/16/16 at 3:26am

jayinchelsea said: "There is something wrong when the best songs in a musical are the real ones from the 80s. Don't get me wrong, love Duncan Sheik's work for SPRING AWAKENING, but his score here was a lot of white noise. As was the show itself, imo. Every few moments we got another 80s reference to laugh at, but that palled pretty quickly. Aside from Benjamin Walker, who sings really well and looks amazing, there were no real performances here, because it was just one cliched character after another. Satirizing the 80s is one thing, but that was pretty much all the book did for 2+ long hours. I can see why this failed to find an audience in London.

Actually, the entire run in London was sold out, and pretty much the hottest ticket in town for the duration of the time it was on. Admittedly the Almeida Theatre where it originated isn't big but it was only Matt Smith's other work commitments and lack of suitable theatre availability that stopped the show from transferring into the West End. It most definitely found a London audience.

"

 

[songanddanceman2]

Posted: 4/16/16 at 7:57am

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. 

[Jane2]

Posted: 4/16/16 at 10:40am

I must see this show. I can't take advantage of the current discounts because they're too far away from the stage. Do I bite the bullet and pay almost $200?

[quizking101]

Posted: 4/16/16 at 10:44am

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.

 

 

 

[quizking101]

Posted: 4/16/16 at 10:48am

(Additional post since I can't edit)

Stage Door: Helene Yorke, Jennifer Damiano, and most of the ensemble came out and signed. Benjamin Walker and Alice Ripley...dipped out another door.

Possible Tony Love?

- Best Actor In a Musical (Walker)

- Best Featured Actress in a Musical (Yorke)

- Best Scenic Design

- Best Choreography 

[jayinchelsea]

Posted: 4/16/16 at 11:18am

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.

 

[QueenAlice]

Posted: 4/16/16 at 11:19am

Actually, no the role was that size in London. She accepted the role as it currently is.

[kingfan011]

Posted: 4/16/16 at 6:56pm

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.

[groucho797]

Posted: 4/16/16 at 10:29pm

Saw the matinee today, having seen the evening performance last Saturday. The show appears to be frozen now, with the possible exception that the quiet bit between Patrick and Jean is a touch improved on pacing. Seems like there were a bunch more supporters at today's show; the audience is still mostly quiet during the bulk of Act II, but there were lots more laughs at various lines in both acts today, as well as a more raucous curtain call. I think folks are starting to catch on to what the show is and isn't.

 IMHO, Act II is designed to be tonally different from Act I. It seems logical to me that the creative team would intend that the sort of roller-coaster ride you're taking in Act I, culminating with the big-thrill drop at the end, should give way to a much more grim and disturbing tone as Patrick's madness is proving much more unnerving and unpleasant by now. I actually liked Act II more today than I did the first time.

 Call it this generation's Rocky Horror if you want to, the only relationship this show has to Ghost is that both shows were imports. While Ghost was essentially the movie with a bunch of ballads stuffed into it (in some cases, back-to-back), AP acts as a self-contained interpretation of the basic theme with only a few nods to the movie.

 So what makes a great musical? It's purely subjective. All I know is that this show is almost an anti-musical, if one was to assign quality based on sentiment and sappiness. This show is devoid of both, and I think a significant chunk of the audience feels like they were overdue for something like this show. God, I know I was; I appreciated it even more this second viewing.

One final arbitrary addendum: I'm slowly starting to realize that nothing polarizes a population like irony. Some people (like myself) are perfectly happy to ingest and expel stuff when it's wrapped in a blanket of irony; others simply abhor it, lamenting (perhaps understandably) that people don't seem to just SAY what they're thinking anymore. I would say the book, movie, and now this show are steeped in irony - which may or may not be how you like your musical theatre. Caveat emptor.



Updated On: 4/16/16 at 10:29 PM

[groucho797]

Posted: 4/16/16 at 11:59pm

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.

 

[groucho797]

Posted: 4/17/16 at 12:35am

dramamama611 said: "If it doesn't speak to you (sing to you?) nothing wrong with opting out.  While I try to see as much on b'way as possible, there are shows that just don't appeal to me that I never plan to see.  (Jersey Boys, School of Rock just to name two.) "

Embarrassed that I missed this comment somehow during my first thread-through, but "Testify, mama!" To be brutally candid, given the choice between this show and Hamilton, I've seen Psycho twice now, and I'm not looking back. The Hamilton cast recording just didn't pull me in; this one did. Go figure.

 

[nolanativeny]

Posted: 4/17/16 at 6:46pm

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. 

[steven22]

Posted: 4/17/16 at 7:38pm

Saw this last night and loved it. What a shame that Alice Ripley can't be shown more. Jenn Damiano and Ben Walker were standouts. 

[VotePeron]

Posted: 4/17/16 at 7:39pm

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. 

 

Click Here To Toggle Spoiler Content

- There is now a Patrick Bateman body double at the top of the show, who comes up behind the girl when she presses her hand to the glass. That moment is longer now, too.

- The choreography to "Selling Out" has changed, a lot, especially in the middle. It includes Patrick MUCH more, and is great!

- Ben Walker is much more physically involved in the role - he is not as stagnant as he was directed to be at the begining of previews. He has moments where he is much looser and freer than others. 

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