Anyone going to see The Most Happy Fella?

I saw the final dress rehearsal last night.

I was actually disappointed in Paul Sorvino, mostly in the first half, especially as he was forgetting quite a few lines in his first song. Didn't think he sounded so great until the middle of the second act. I had a hard time understanding what he said frequently due to the accent and his speech didn't seem to come out as loud and strong as everyone else, at least the first few words of his sentences. Not sure if he wasn't projecting as much as the rest of the cast, but I had no problem hearing anyone else.
He sounded better by the middle of the second act.
I also realize that he may have been holding back some to give more in the previews and the press performance on Tues.

I knew nothing about the story before going, so I can't compare it to anything or even say how it met expectations as I didn't really have any. Just went in blind basically.

That being said, I wasn't fond of Rosabella as a character. I thought she acted selfish and petty and wasn't buying her transformation in the end to loving wife. She reacts very badly to finding out that her intended isn't the hot Joe from the picture, meets Joe and while she acts offended over him not being the guy she was supposed to meet, he practically attacks her 5 mins after she's there. I just didn't like the way that part of the first act played out.

I loved the person who played her friend and the guy she hooked up with (Herman?). Sorry, didn't get a Playbill to see the cast and song list to be more specific. I actually enjoyed everyone, but Paul Sorvino.

They had to stop once for someone to announce that a sound cue (a power generator) needed to be cut down in the future. It was drowning out the voices in the beginning of a song.

Not the best review I realize, but again, I didn't know anything about it and have no particulars to reference to at the moment.

I'll be curious to hear future reviews to see if Paul comes off better.
My friend, who works at City Opera, said they just started rehearsing on Wed. (I'll presume onstage.) As soon as the performance was over around 10:15, rehearsals started onstage again, before all the audience had filed out even. I know there were lighting issues to deal with as it was the first time they'd seen the design in a full run through.

OMG - - - i saw the original on Broadway in the year of the flood, granted I was
a mere babe - - remember taking a horse and wagon to the theatre!
Oh well - - it's curious to think that there are no good NEW things to see - - what's
the story with all these revivals?

I also attended the final dress. This show has never been a favorite of mine, and this production is completely average in every way.

To say Paul Sorvino was awful is an understatement. As the other poster said, he dropped lines all over the place, gargled dialogue, and he looked exhausted and out of breath at times. Totally miscast and painful to watch.

Lisa Vroman is her usual enchanting self. She is the ONLY reason to see the show. Everything else was forgettable.

I want to go, but it all depends if my singing teacher, Becky Baxter, will ever perform in it. She's understudying a character.

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I saw the second performance, and Paul Sorvino wasn't terrible at all.

I'm not a fan of the way the character is written to begin with - so stereotypically Italian-speaking-English to the point of nausea (adding "a" before every other word), but I thought Paul did a fine enough job with it. He can definitely sing - but the score may have been a little taxing for him. He was never off-pitch, he never sounded bad, and he never missed a word.

The supporting performances are all solid, especially Leah Hocking (who is hilarious) and Ivan Hernandez (who appeared in YANK last summer at NYMF.) Hernandez is the true relevation of the evening- actually, the only revelation.

His lush baritone is the kind of voice you don't hear anymore. Back in the 50's, he would have been a big star. He's handsome as hell, he can definitely act, and his voice is remarkable. He should be a star - he would be fantastic in things like SHOWBOAT, OKAHOMA, and especially as Jigger in CAROUSEL. He's wonderful.

I've never liked this show much, and the score is generally a big bore. The choreography ranges from pedestrian to dazzling, and the direction is nothing more than standard musical theatre - but really, what more could you want in a show that's already so mediocre? The costumes are fantastic as well.

So, aside from some great performances and some spectacular dance moments, this show really just doesn't go anywhere. They added in the arias that were cut for the Broadway production, which makes this show extremely TOO long. It is worth checking out, if only to see Ivan, Leah, and a show that you don't often get a chance to see. For those things, it's worth checking out - even if you only pay $16 to stand.

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I thought she was wonderful. She did a good job. I just hate that character. I have no sympathy for her and really didn't care about anything she was doing.

The entire plot really doesn't make sense as it is, but she was great.

Question: Why did he have a big, broad, "Italian" accent, while his sister didn't have the slightest accent at all?

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No, I got my tickets a few weeks ago.

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Munk's review did remind me I loved the costumes. Said that several times to my friend in the middle and after. I think she enjoyed it overall more than I did.

THE MOST HAPPY FELLA was adapted by Frank Loesser from Sidney Howard's play THEY KNEW WHAT THEY WANTED (1925 - Pulitzer Prize winner). The character of Marie is not in Howard's play. Either of the suggestions offered for why Marie does not have the prominent accent are plausible. Marie is younger than Tony, which may account for her easier assimilation to the English language. In the musical, Marie sings: "A long time ago, in the old country, Mamma looked at me, right before she died, and with her poor tired eyes she was saying, 'Marie, take care of Tony. Take care of your dumb, funny looking big brother Tony'." That provides a lot of insight into her character.

In fact, Tony describes himself as "stupid" and "not smart." The broken English is used to reflect the intelligence of his character. In his final confrontation with Marie, when she say's "you ain't smart," he replies, "No. In da head omma no smart, Marie, ma (which means but in Italian) in da heart."

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I've never liked this show much, and the score is generally a big bore. The choreography ranges from pedestrian to dazzling, and the direction is nothing more than standard musical theatre - but really, what more could you want in a show that's already so mediocre?

Well, it ain't Rent, but it is a gorgeous score with so many layers and brilliantly pastiche. I don't know how you can say that such classics as Standing on the Corner, Big D and Sposalizio are boring. And Somebody Somewhere, Joey Joey, and My Heart is So Full of You are some of the most beautiful songs ever written for the Broadway stage.

As for Sorvino, I never thought he was a good choice for Tony. In theory he would be ideal, except for one thing. His singing always reminds me of the drunk uncle at the big Italian wedding who has had too much Chianti and launches into every Italian aria he can remember, much to the chagrin of everyone but Grandma.

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You guys need to listen to more varied music. This is one of the most beautiful heartfelt scores I have ever heard. If you don't tear up at the end, you simply arn't listening to the music (not the lyrics-the music).

Sovino's voice was in great trouble last night. However, he did some marvolous things with the acting. The muscial has such enourmous heart and if you can think of a current score even half this good, I would like to hear it.

Just my opinion, I may be wrong.

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Tony is Marie's older brother and therefore, yes, probably assimilated quicker to the English tounge.

I directed this show last fall and was asked the same question from my cast. A personal example I was able to give is that my father and his older brother (by 6-7 years) both came to the US from Paris back in the 40's. To this day, my uncle still has a slight French accent and my dad doesn't have a trace of any accent.

The director's notes in the NYCO program claim that Marie is the older one--which I don't believe to be true based on the lyrics. I don't think "big, brother Tony" was meant to indicate his size...

Although Marie's first Act I aria was not necessary, I thought it brought about the interesting perspective that she gave up her own thoughts of a married life in order to take care of Tony for all those years. It extended her feelings beyond just "Oh, whoa is me. My brother will get married and my life will be over". She could have, at one time, had quite a few prospects but--as is typical in traditional Italian households especially of that period--took care of her brother (the woman were always expected to be the caregivers and sacrifice of their own needs).