Anyone seen NEXT TO NORMAL tonite? — Page 6
#127
Posted: 1/20/08 at 2:32am
emcee -- agreed, I didn't mean that he had a mental illness to the extent that Diana had, but he certainly had demons of his own.
"Das Gegenteil von Krieg ist nicht Frieden...sondern Schöpfung!" - German Mark Cohen
#128
Posted: 1/20/08 at 1:49pm
I saw the matinee yesterday and, I apologize in advance for the length of this post, but I have a lot of thoughts and I wanted to get them all out.
Before I do, though, I want to say that, overall, I thought it was fantastic. As I’ve said before, I fell in love with Feeling Electric at NYMF and didn’t think then it needed that much work beyond some trimming before it moved on to a full production, so I was concerned, with the name change and two years of rewriting, that they may have been messing around too much with a good thing. I am now happy to say that my fears were, overall, unwarranted and I didn’t realize just how much better this show could be. That said, I personally thought there were some changes that I didn’t think worked as well for me as others.
Overall, I was really impressed with what they did with the first act. I found FE’s first act to be a bit confusing and that it took about 15 minutes too long to really get going. I thought N2N’s first act was clear as a bell and, as a result, I actually found the first act of N2N to be considerably more moving than FE. I also felt that they cut exactly what they needed to in the first act. When I saw FE, I found “Let There Be Light” a rather meaningless opening number. The vague lyrics didn’t mean anything because there was no context for them yet. I thought it was a great move in N2N to just have a fragment of the song and then skip “Night” and “So Many Ways to Die” to go straight into “Just Another Day” as an opening number.
“Costco” felt like it was out of another musical to me. But this song (along with the wisely cut “Up the Dose”) always did feel a bit out of place to me in this score. They feel like they were written more for “the room” at BMI (pandering to the moderators’ tastes, and the cabaret-type setting there) then for the musical this piece has become. It also didn’t help that the staging was a bit over the top. What was most surprising to me, though, was that after that over-the-top number, Diane’s breakdown itself seemed awfully understated. It didn’t seem so much like a breakdown as her just being exhausted from shopping, which is hardly an abnormal occurrence. It made Dan’s reaction seem to come a little bit from left field and didn’t really set up “Who’s Crazy” and “My Psych…and I” well, because she didn’t really seem to be much more than perhaps slightly eccentric by the end of “Costco.”
I thought cutting down the college years flashbacks and eliminating “Electricity” and “Dan Brown” (although the music of the former is still used nicely in a couple of places as underscoring) was a good move.
I loved what they did with “I Miss the Mountains” which gave the song dramatic momentum. Great.
This next thing really bothered me and involves the exchange between Henry and Natalie when Diana brings out the birthday cake: “I didn’t know you have a brother.” “I don’t. He died before I was born.” It felt very on the nose to me, like the audience was being spoon-fed for a moment. And then it made the lyrics to “He’s Not Here” (especially “He’s been dead sixteen years”) feel redundant and the song and moment lost a great deal of it’s power for me. I hope they rethink this moment. Maybe just have Henry say “I didn’t know you have a brother” and have Natalie just bury her head in her hands without responding, or something like that? I just don’t feel like she needs to say “I don’t. He died before I was born.” It’s much more powerful for that info to come out musically.
I loved the way “I’m Alive” is used in this version, actually I just want to mention the changed song contexts and lyrical rewrites in general. In FE I felt like a few of songs were a bit too static. I thought Yorkey’s lyrical rewrites and changed contexts for N2N were fantastic and gave the songs in general a lot more dramatic mileage, especially the new lyrics and uses of “I’m Alive,” “Light in the Dark” and “Growing Up Unstable.”
I loooooved “Catch Me I’m Falling.” I’m not sure if it was the staging, performances, arrangements, context, or all of the above, but I thought it sounded great and was very haunting. The only thing I missed about it, and I know this is such a little thing, but I really did miss it, was the dialogue underscoring. When I saw FE, I was really taken by a vamp played by the violin and cello under the dialogue in that scene between Diana and Dr. Madden. It’s still there, but now its played by the piano. It’s still pretty, but not as haunting as it was when played by the strings. I know this is picky, but I really missed the old sound there.
As a side comment, speaking of the orchestrations/arrangements, overall the music in this version is a bit more “mellow” (for want of a better term) then in FE. A lot of the hard-driving rock feel of some of the songs seems to have been rewritten to sound a bit more ethereal and accent the beauty of the music more than the beat. Its an approach that I think works really well for this material and may have been one of the things that helped give the first act more emotional power.
“I Dreamed a Dance” was perfect. So moving.
“Didn’t I See This Movie” I think may have been trimmed down to much. It seems to have lost a lot of the great metaphors and play on words that it had before.
“Feeling Electric” – awesome first act closer.
I, unfortunately, didn’t think the rewrites worked as well in the second act. In general, the second act felt generic to me. The plotting, especially the overly obvious parallel treatment of the two m/f relationships (Diana/Dan and Natalie/Henry) in “A Promise” felt overly tidy to me. The first act seemed to unravel in such an emotionally honest way, and in the second act, suddenly the mechanics of the plotting and character/relationships development seemed more visible to me. The skeleton of the show was starting to show through the meat and skin. I become more aware of the author trying to manipulate the audience and create a tidy, “logical” path for all the characters. This caused me to become emotionally disengaged.
This was particularly true with the Natalie/Diana scene, which has replaced the Natalie/Dr. Madden scene in FE. I was never a fan of that earlier scene and song, and the new one is an improvement. But it just doesn’t ring true to me. It feels forced and I can “smell the ink” so to speak. I hope they keep working on it. It does, however, serve as a better set up for “And Anyway.” And, at the end of the day, I still found myself sobbing during “I Am the One Reprise.” That moment is still as powerful as it was in FE. But then, when the scene reached the clincher for me (“Hey Dad”), Gabe went dashing off and the moment didn’t get a chance to land. I think the following scene with Natalie and Dan works – Now that I’ve seen this version, I can say that I think the scene works without having Dan on the verge of taking his own life. The feeling of him hitting emotional bottom and Natalie being able to lift him out of that is still there from her finding him sitting at home in the darkness. But it’s the transition, or lack of one from the Dan/Gabe scene to the Dan/Natalie scene that killed the emotional momentum for me. Maybe they could go from Gabe’s line (“Hey Dad”), linger on it for a second while we hear the chords from FE (the beginning of the “I’ve Been Reprise”) as Dan cradles his father as he breaks down and lights come up on Diana as she sings a short reprise of something that would serve as a transition to Natalie coming home and finding her father in the dark. I don’t know, but I hope they come up with something, because right now I feel this is the one main thing that is keeping the show from “landing” at the end.
And speaking of the end, I really didn’t have any problem with “Let There Be Light.” There was no hugging (thank God) as has been mentioned before. The only issue I had was at the very end when the whole cast came together in a line. Diana and Dan stood next to each other and looked at each other and smiled, and I thought that sort of killed the moment. I really feel like Dan and Natalie should be kept separate from Diana to the very end, because the cathartic idea at the end of the show is that now they are going to be able to start down a road of healing by moving on, separately. Anyway, it’s a very easy fix that I hope they work on.
Now the cast. I’m sad to say that, as much as I loved this version of the show, I felt no one but Brian d’Arcy James were as good as the NYMF cast. Ripley was very mannered and didn’t have the sense of humor about her condition that Spanger’s Diana had. I’m sad to say this because I have been a big fan of Ripley’s work in the past. I just didn’t feel like Ripley’s Diana was as real a person as Spangler’s was (and I was surprised at how young Ripley looked – She didn’t look that much older than Spangler could be made to look, so I don’t buy the age argument). I was aware of Ripley “acting” and “posing” much of the time in the first act (though I think her acting became much more real in the second act, so perhaps this was a directorial/thematic “choice”). I hope with time she will become more natural in the role and find more of her character’s sense of humor. For the time being though, I hope they have her understudy go on and give Ripley a week or so of vocal rest. Her voice sounded unhealthy yesterday and I’m concerned for her voice.
Actually, all of the performers (even d’Aarcy James) sounded a bit strained yesterday. This is a very challenging score, and some of it sounded as if it is written out of the performers’ ranges. The NYMF cast had no problem handing it when I saw it, but then again, they didn’t have to do the show eight times a week, and I’m sure this cast had a very taxing rehearsal schedule leading up to the first preview. They could probably all use some rest.
I was disappointed in Jennifer Damiano’s Natalie. I’m fine with the changes that they made to the character, but I felt that Damiano was rather bland in the role and her solos (“Superboy and the Invisible Girl” and “Growing Up Unstable”) lacked vocal power. Annaleigh Ashford gave such a powerhouse performance in this role, and I missed her.
As far as Asa Somers is concerned, I actually thought that Anthony Rapp was miscast in NYMF because I couldn’t buy into him as a sexy rock idol. What Rapp did do though, was make Dr. Madden a real person. His line readings felt very honest to me and you got the feeling he really cared about Diana. Unfortunately, Somers failed as both a sexy rock idol Dr. Fine and a human Dr. Madden. His Dr. Madden came off as somewhat apathetic to me, which made the show overall feel like it was condemning modern medicine as opposed to trying to understand it. Perhaps that was the authors’/director’s intentions?
A side note about “Open Your Eyes,” since I didn’t mention it earlier. The humor/effect of the song is somewhat diminished because Dr. Fine takes off his coat and opens his shirt to become the sexy rock idol. But then he has to go put on his coat again to turn back into Dr. Madden. So the audience is way ahead of the game. “Okay, he’s now going to his coat and putting his coat back on because now he is going to become the Dr. again...right…now.” I feel like there was a missed opportunity here for a costume designer to come up with a creative costume that could easily transform into a rock star look and back without the actor having to take anything off. Maybe just a flip of the collar, some Velcro panels, something easy and surprising that wouldn’t telegraph so much the transformations back and forth.
Well, I think that’s it for now. Again, I’m sorry for the length of the post, but I just wanted to get it all out of my head
I know it seems like a lot of kvetching, but I really did love the show and I think they are just a few tweaks away from having a home run. A think a lot of congrats are especially in order for the work Yorkey and Kitt have done on the piece. Can’t wait to see it again.
Before I do, though, I want to say that, overall, I thought it was fantastic. As I’ve said before, I fell in love with Feeling Electric at NYMF and didn’t think then it needed that much work beyond some trimming before it moved on to a full production, so I was concerned, with the name change and two years of rewriting, that they may have been messing around too much with a good thing. I am now happy to say that my fears were, overall, unwarranted and I didn’t realize just how much better this show could be. That said, I personally thought there were some changes that I didn’t think worked as well for me as others.
Overall, I was really impressed with what they did with the first act. I found FE’s first act to be a bit confusing and that it took about 15 minutes too long to really get going. I thought N2N’s first act was clear as a bell and, as a result, I actually found the first act of N2N to be considerably more moving than FE. I also felt that they cut exactly what they needed to in the first act. When I saw FE, I found “Let There Be Light” a rather meaningless opening number. The vague lyrics didn’t mean anything because there was no context for them yet. I thought it was a great move in N2N to just have a fragment of the song and then skip “Night” and “So Many Ways to Die” to go straight into “Just Another Day” as an opening number.
“Costco” felt like it was out of another musical to me. But this song (along with the wisely cut “Up the Dose”) always did feel a bit out of place to me in this score. They feel like they were written more for “the room” at BMI (pandering to the moderators’ tastes, and the cabaret-type setting there) then for the musical this piece has become. It also didn’t help that the staging was a bit over the top. What was most surprising to me, though, was that after that over-the-top number, Diane’s breakdown itself seemed awfully understated. It didn’t seem so much like a breakdown as her just being exhausted from shopping, which is hardly an abnormal occurrence. It made Dan’s reaction seem to come a little bit from left field and didn’t really set up “Who’s Crazy” and “My Psych…and I” well, because she didn’t really seem to be much more than perhaps slightly eccentric by the end of “Costco.”
I thought cutting down the college years flashbacks and eliminating “Electricity” and “Dan Brown” (although the music of the former is still used nicely in a couple of places as underscoring) was a good move.
I loved what they did with “I Miss the Mountains” which gave the song dramatic momentum. Great.
This next thing really bothered me and involves the exchange between Henry and Natalie when Diana brings out the birthday cake: “I didn’t know you have a brother.” “I don’t. He died before I was born.” It felt very on the nose to me, like the audience was being spoon-fed for a moment. And then it made the lyrics to “He’s Not Here” (especially “He’s been dead sixteen years”) feel redundant and the song and moment lost a great deal of it’s power for me. I hope they rethink this moment. Maybe just have Henry say “I didn’t know you have a brother” and have Natalie just bury her head in her hands without responding, or something like that? I just don’t feel like she needs to say “I don’t. He died before I was born.” It’s much more powerful for that info to come out musically.
I loved the way “I’m Alive” is used in this version, actually I just want to mention the changed song contexts and lyrical rewrites in general. In FE I felt like a few of songs were a bit too static. I thought Yorkey’s lyrical rewrites and changed contexts for N2N were fantastic and gave the songs in general a lot more dramatic mileage, especially the new lyrics and uses of “I’m Alive,” “Light in the Dark” and “Growing Up Unstable.”
I loooooved “Catch Me I’m Falling.” I’m not sure if it was the staging, performances, arrangements, context, or all of the above, but I thought it sounded great and was very haunting. The only thing I missed about it, and I know this is such a little thing, but I really did miss it, was the dialogue underscoring. When I saw FE, I was really taken by a vamp played by the violin and cello under the dialogue in that scene between Diana and Dr. Madden. It’s still there, but now its played by the piano. It’s still pretty, but not as haunting as it was when played by the strings. I know this is picky, but I really missed the old sound there.
As a side comment, speaking of the orchestrations/arrangements, overall the music in this version is a bit more “mellow” (for want of a better term) then in FE. A lot of the hard-driving rock feel of some of the songs seems to have been rewritten to sound a bit more ethereal and accent the beauty of the music more than the beat. Its an approach that I think works really well for this material and may have been one of the things that helped give the first act more emotional power.
“I Dreamed a Dance” was perfect. So moving.
“Didn’t I See This Movie” I think may have been trimmed down to much. It seems to have lost a lot of the great metaphors and play on words that it had before.
“Feeling Electric” – awesome first act closer.
I, unfortunately, didn’t think the rewrites worked as well in the second act. In general, the second act felt generic to me. The plotting, especially the overly obvious parallel treatment of the two m/f relationships (Diana/Dan and Natalie/Henry) in “A Promise” felt overly tidy to me. The first act seemed to unravel in such an emotionally honest way, and in the second act, suddenly the mechanics of the plotting and character/relationships development seemed more visible to me. The skeleton of the show was starting to show through the meat and skin. I become more aware of the author trying to manipulate the audience and create a tidy, “logical” path for all the characters. This caused me to become emotionally disengaged.
This was particularly true with the Natalie/Diana scene, which has replaced the Natalie/Dr. Madden scene in FE. I was never a fan of that earlier scene and song, and the new one is an improvement. But it just doesn’t ring true to me. It feels forced and I can “smell the ink” so to speak. I hope they keep working on it. It does, however, serve as a better set up for “And Anyway.” And, at the end of the day, I still found myself sobbing during “I Am the One Reprise.” That moment is still as powerful as it was in FE. But then, when the scene reached the clincher for me (“Hey Dad”), Gabe went dashing off and the moment didn’t get a chance to land. I think the following scene with Natalie and Dan works – Now that I’ve seen this version, I can say that I think the scene works without having Dan on the verge of taking his own life. The feeling of him hitting emotional bottom and Natalie being able to lift him out of that is still there from her finding him sitting at home in the darkness. But it’s the transition, or lack of one from the Dan/Gabe scene to the Dan/Natalie scene that killed the emotional momentum for me. Maybe they could go from Gabe’s line (“Hey Dad”), linger on it for a second while we hear the chords from FE (the beginning of the “I’ve Been Reprise”) as Dan cradles his father as he breaks down and lights come up on Diana as she sings a short reprise of something that would serve as a transition to Natalie coming home and finding her father in the dark. I don’t know, but I hope they come up with something, because right now I feel this is the one main thing that is keeping the show from “landing” at the end.
And speaking of the end, I really didn’t have any problem with “Let There Be Light.” There was no hugging (thank God) as has been mentioned before. The only issue I had was at the very end when the whole cast came together in a line. Diana and Dan stood next to each other and looked at each other and smiled, and I thought that sort of killed the moment. I really feel like Dan and Natalie should be kept separate from Diana to the very end, because the cathartic idea at the end of the show is that now they are going to be able to start down a road of healing by moving on, separately. Anyway, it’s a very easy fix that I hope they work on.
Now the cast. I’m sad to say that, as much as I loved this version of the show, I felt no one but Brian d’Arcy James were as good as the NYMF cast. Ripley was very mannered and didn’t have the sense of humor about her condition that Spanger’s Diana had. I’m sad to say this because I have been a big fan of Ripley’s work in the past. I just didn’t feel like Ripley’s Diana was as real a person as Spangler’s was (and I was surprised at how young Ripley looked – She didn’t look that much older than Spangler could be made to look, so I don’t buy the age argument). I was aware of Ripley “acting” and “posing” much of the time in the first act (though I think her acting became much more real in the second act, so perhaps this was a directorial/thematic “choice”). I hope with time she will become more natural in the role and find more of her character’s sense of humor. For the time being though, I hope they have her understudy go on and give Ripley a week or so of vocal rest. Her voice sounded unhealthy yesterday and I’m concerned for her voice.
Actually, all of the performers (even d’Aarcy James) sounded a bit strained yesterday. This is a very challenging score, and some of it sounded as if it is written out of the performers’ ranges. The NYMF cast had no problem handing it when I saw it, but then again, they didn’t have to do the show eight times a week, and I’m sure this cast had a very taxing rehearsal schedule leading up to the first preview. They could probably all use some rest.
I was disappointed in Jennifer Damiano’s Natalie. I’m fine with the changes that they made to the character, but I felt that Damiano was rather bland in the role and her solos (“Superboy and the Invisible Girl” and “Growing Up Unstable”) lacked vocal power. Annaleigh Ashford gave such a powerhouse performance in this role, and I missed her.
As far as Asa Somers is concerned, I actually thought that Anthony Rapp was miscast in NYMF because I couldn’t buy into him as a sexy rock idol. What Rapp did do though, was make Dr. Madden a real person. His line readings felt very honest to me and you got the feeling he really cared about Diana. Unfortunately, Somers failed as both a sexy rock idol Dr. Fine and a human Dr. Madden. His Dr. Madden came off as somewhat apathetic to me, which made the show overall feel like it was condemning modern medicine as opposed to trying to understand it. Perhaps that was the authors’/director’s intentions?
A side note about “Open Your Eyes,” since I didn’t mention it earlier. The humor/effect of the song is somewhat diminished because Dr. Fine takes off his coat and opens his shirt to become the sexy rock idol. But then he has to go put on his coat again to turn back into Dr. Madden. So the audience is way ahead of the game. “Okay, he’s now going to his coat and putting his coat back on because now he is going to become the Dr. again...right…now.” I feel like there was a missed opportunity here for a costume designer to come up with a creative costume that could easily transform into a rock star look and back without the actor having to take anything off. Maybe just a flip of the collar, some Velcro panels, something easy and surprising that wouldn’t telegraph so much the transformations back and forth.
Well, I think that’s it for now. Again, I’m sorry for the length of the post, but I just wanted to get it all out of my head
I know it seems like a lot of kvetching, but I really did love the show and I think they are just a few tweaks away from having a home run. A think a lot of congrats are especially in order for the work Yorkey and Kitt have done on the piece. Can’t wait to see it again. Updated On: 1/20/08 at 01:49 PM
#129
Posted: 1/20/08 at 2:31pm
"""This next thing really bothered me and involves the exchange between Henry and Natalie when Diana brings out the birthday cake: “I didn’t know you have a brother.” “I don’t. He died before I was born.” It felt very on the nose to me, like the audience was being spoon-fed for a moment. And then it made the lyrics to “He’s Not Here” (especially “He’s been dead sixteen years”) feel redundant and the song and moment lost a great deal of it’s power for me. I hope they rethink this moment. Maybe just have Henry say “I didn’t know you have a brother” and have Natalie just bury her head in her hands without responding, or something like that? I just don’t feel like she needs to say “I don’t. He died before I was born.” It’s much more powerful for that info to come out musically."""
^^Woah that's a great idea. I love when people have constructive criticism like this that makes sense. And that line does strike me as unnecessary.
I saw it again last night - and was impressed with how much work they'd done on it in less than a week. Lots of changes, big and small, some small cuts and blocking changes and... mostly restaging that last scene which is a LOT BETTER now though I'm also with the above poster - Diana and Dan should not look at each other, that felt weird but I didn't find anything odd about them lining up like that it was nice.
Alice Ripley sounded tired as the show started but then halfway through the show regained her full voice and was fine - more than fine, she sounded magnificent. The entire cast did seem very worn out. Very. But I think they've had a greulling schedule. They're all so very intense and I think they're doing fantastic work.
Alice Ripley, Brian D'Arcy James, and Aaron Tviet are all delivering really stunning performances - grip the edge of your seat and pull forward to watch it all go down style... I have really appreciated Alice and Brian's work in the past, but this Aaron kid really surprised me and he's just on FIRE when he's onstage. Where ever they found him, congrats.
Asa Somers sings beautifully but seems a bit behind the rest of the cast as far as character development, but he had improved dramatically since Wednesday and I feel like he maybe just needs time to catch up. That's what previews are for.
The music to this show is just gorgeous. I can't get enough of it, I can't get the songs out of my head.
I cannot wait to see how it grows in the next few weeks... it's been a LONG time since I've been so excited about a new work. Beautiful.
^^Woah that's a great idea. I love when people have constructive criticism like this that makes sense. And that line does strike me as unnecessary.
I saw it again last night - and was impressed with how much work they'd done on it in less than a week. Lots of changes, big and small, some small cuts and blocking changes and... mostly restaging that last scene which is a LOT BETTER now though I'm also with the above poster - Diana and Dan should not look at each other, that felt weird but I didn't find anything odd about them lining up like that it was nice.
Alice Ripley sounded tired as the show started but then halfway through the show regained her full voice and was fine - more than fine, she sounded magnificent. The entire cast did seem very worn out. Very. But I think they've had a greulling schedule. They're all so very intense and I think they're doing fantastic work.
Alice Ripley, Brian D'Arcy James, and Aaron Tviet are all delivering really stunning performances - grip the edge of your seat and pull forward to watch it all go down style... I have really appreciated Alice and Brian's work in the past, but this Aaron kid really surprised me and he's just on FIRE when he's onstage. Where ever they found him, congrats.
Asa Somers sings beautifully but seems a bit behind the rest of the cast as far as character development, but he had improved dramatically since Wednesday and I feel like he maybe just needs time to catch up. That's what previews are for.
The music to this show is just gorgeous. I can't get enough of it, I can't get the songs out of my head.
I cannot wait to see how it grows in the next few weeks... it's been a LONG time since I've been so excited about a new work. Beautiful.
Now what would you say if today I started over?
Without a thing but this taped together four leaf clover
And I'll pretend like everything is already alright
And I'll run toward the sun till the castle's out of sight
#130
Posted: 1/20/08 at 2:49pm
Thank you joniray, for a thoughtful and insightful post. I was starting to wonder if I was the only one concerned about Ripley's voice. I understand she's a phenomenal performer, but triumphs in past work shouldn't overshadow obvious vocal damage.
Thanks for your insight. It was a pleasure to read!
Thanks for your insight. It was a pleasure to read!
"I'll cut you, Tracee Beazer!!!!
...Just kidding. I'd never cut anyone." -Tina Maddigan, 9/30/06, WS stage door
Avatar: JULIE "EFFING" WHITE, 2007 TONY WINNER. Thank God. I'm thinking about legally changing my name to Lizzie Curry...
Avatar: JULIE "EFFING" WHITE, 2007 TONY WINNER. Thank God. I'm thinking about legally changing my name to Lizzie Curry...
#131
Posted: 1/20/08 at 4:11pm
Joniray, I'm a little confused with your comments about "Costco". you say you saw it at NYMF. "costco" was in the show at NYMF. It was a little different. But it was still there. It seems to me you problem is more with the staging. Which is obviously a little strange, but then again EVERYTHING is at least slightly different because the production at NYMF was essentially a Staged Reading. everything was static. I do agree about the cuts from Act 1, despite me liking the songs that are gone, they did really slow down the opening. Also the thought about the reveal of gabe not being real is TOLD a little more than it's SHOWN and its one of those things that is more affecting shown than told. I'm gonna try and go back tuesday or wednesday (student rush it) Im relieved the hugging is gone, but from the sounds of it, the end is still misleading. Diana needs to me clearly seperated from dan and natalie at the end, and gabe nees to touch NO ONE (except maybe diana).
#132
Posted: 1/20/08 at 4:26pm
I know "Costco" was in the show at NYMF and, as I said in my post, the song, along with the one that immediately followed it at NYFM (the country-western "Up the Dose") always felt out of place to me stylistically and tone wise with the rest of the show. But, yes, I think that has been amplified by the current staging of the piece.
And I totally agree about Gabe being kept separate at the end. And, to be clear, we are talking about only just the last few seconds at the end of the show, but I really don’t like everyone coming together in a line. I don’t like Diana and Dan being next to each other. I don’t like Gabe being in the same space with everyone. Really, the final picture should be Diana in one spot, on her own. Dan and Natalie together in another spot, possibly with Henry looking on, and Dr. Madden and Gabe separated from the rest. I think it should be a tableau ending instead of a line.
And I totally agree about Gabe being kept separate at the end. And, to be clear, we are talking about only just the last few seconds at the end of the show, but I really don’t like everyone coming together in a line. I don’t like Diana and Dan being next to each other. I don’t like Gabe being in the same space with everyone. Really, the final picture should be Diana in one spot, on her own. Dan and Natalie together in another spot, possibly with Henry looking on, and Dr. Madden and Gabe separated from the rest. I think it should be a tableau ending instead of a line.
Updated On: 1/20/08 at 04:26 PM
#133
Posted: 1/20/08 at 6:05pm
while i had never seen alice ripley in any show prior to this one, i have heard her sing before and i don't think she is straining or doing damage to her voice. her voice, as you can hear in other recordings, has always had that quality to it. in addition i was blown away by her performance.
to be fair i was completely unfamiliar with the show's previous incarnations, so perhaps i just lacked preconceived notions of the role.
to be fair i was completely unfamiliar with the show's previous incarnations, so perhaps i just lacked preconceived notions of the role.
Updated On: 1/20/08 at 06:05 PM
#134
Posted: 1/20/08 at 8:51pm
blown away by ripley? does that mean she's stopped overacting?
#135
Posted: 1/20/08 at 9:02pm
For someone who's such a proponent of this show, you see to hate it an awful lot.
How much should we bet that your answer begins with "ummm"?
A work of art is an invitation to love.
How much should we bet that your answer begins with "ummm"?
Updated On: 1/20/08 at 09:02 PM
#136
Posted: 1/20/08 at 9:10pm
Maybe it only appeared that way because of the colossal stick up your ass. Isn't it funny how hardly anybody else seems to think that of her?
It truly baffles and amazes me how someone who claims to love this show so much also so badly wants to HATE everything about it.
A work of art is an invitation to love.
It truly baffles and amazes me how someone who claims to love this show so much also so badly wants to HATE everything about it.
Updated On: 1/20/08 at 09:10 PM
#137
Posted: 1/20/08 at 10:47pm
Because I will no longer dignify Liverpool with the continuation of the useless puddle of conversation he's created, moving on...
I think the fantastic thing about Alice's voice, in comparison to someone like Amy Spanger or anyone with a little bit more... clarity to their tone, is that there is something sort of inherently very vulnerable about those kind of unusual voices. They're so, so emotionally raw, and I have a great appreciation for that. So much more is said by a singer like that than just... what is said, you know? I don't know enough about singing to have an opinion on the chances for damage or anything like that, but JMO on the actual timbre of her voice.
A work of art is an invitation to love.
I think the fantastic thing about Alice's voice, in comparison to someone like Amy Spanger or anyone with a little bit more... clarity to their tone, is that there is something sort of inherently very vulnerable about those kind of unusual voices. They're so, so emotionally raw, and I have a great appreciation for that. So much more is said by a singer like that than just... what is said, you know? I don't know enough about singing to have an opinion on the chances for damage or anything like that, but JMO on the actual timbre of her voice.
Updated On: 1/20/08 at 10:47 PM
#138
Posted: 1/20/08 at 10:51pm
Agreed, Emcee. What some would consider a weakness definitely plays toward raw emotion and an inherent access to vulnerability. These voices are considered to have more soul, by many, a voice that has seen a lot in life.
Ripley obviously is trained and has a lot under her belt, no questions asked. I just hope that she is vocalizing in a sustainable fashion.
I hope I'm done. I can't guarantee it. haha
Anyway, did anyone see it today?
Ripley obviously is trained and has a lot under her belt, no questions asked. I just hope that she is vocalizing in a sustainable fashion.
I hope I'm done. I can't guarantee it. haha
Anyway, did anyone see it today?
"I'll cut you, Tracee Beazer!!!!
...Just kidding. I'd never cut anyone." -Tina Maddigan, 9/30/06, WS stage door
Avatar: JULIE "EFFING" WHITE, 2007 TONY WINNER. Thank God. I'm thinking about legally changing my name to Lizzie Curry...
Avatar: JULIE "EFFING" WHITE, 2007 TONY WINNER. Thank God. I'm thinking about legally changing my name to Lizzie Curry...
#139
Posted: 1/21/08 at 4:15pm
Something about the Diana/Natalie scene near the end that bothers me that I forgot to mention. When Diana describes to Natalie in calm and simple terms what happened to her brother, it seems to indicate that Diana is now willing/able to come to terms with it. In my mind, this contradicts her thoughts and actions in the next scene ("And Anyway"). Why would she then feel that she needs to leave Dan and Natalie in order to heal?
#140
Posted: 1/21/08 at 4:21pm
Why would she then feel that she needs to leave Dan and Natalie in order to heal?
To me, what's powerful about that is that... sometimes, in that situation, the people closest to you who can't or won't leave you are actually doing more harm than good. In a way, they're actually enabling that person, and a lot of times, they'll feel like they have to get away. It's that idea of... "I love you, but I can't be with you, you need to let me go." I've been in a relationship like that, and as nonsensical as it seems from a clear, rational place, that is exactly how it happens, unfortunately. As far as her description to Natalie, maybe it's just a lapse? So many times, a person will think they're okay, and really just... not be at all. They're just moments of clarity, not a true breakthrough.
A work of art is an invitation to love.
To me, what's powerful about that is that... sometimes, in that situation, the people closest to you who can't or won't leave you are actually doing more harm than good. In a way, they're actually enabling that person, and a lot of times, they'll feel like they have to get away. It's that idea of... "I love you, but I can't be with you, you need to let me go." I've been in a relationship like that, and as nonsensical as it seems from a clear, rational place, that is exactly how it happens, unfortunately. As far as her description to Natalie, maybe it's just a lapse? So many times, a person will think they're okay, and really just... not be at all. They're just moments of clarity, not a true breakthrough.
#141
Posted: 1/21/08 at 4:38pm
I think that Diana has realized that part of what is holding her back IS Dan - I don't think that's she's necessarily healed but I think that a lot of things leading up to that scene
*SPOILERS*
Like how Diana makes the decision to get Natalie to take her to the doctor - not Dan - and the look that Alice has on her face during the "Why Stay" song which is sweet on Dan's part but she looks so completely trapped and smothered by his oath that he'll do whatever to make things right.... I feel like by the time Diana talks to Natalie about her brother, she has made the decision to leave and is already starting to feel more focused and independant.
Ok that might make NO sense at all. I'm bad at expressing things like that.
*SPOILERS*
Like how Diana makes the decision to get Natalie to take her to the doctor - not Dan - and the look that Alice has on her face during the "Why Stay" song which is sweet on Dan's part but she looks so completely trapped and smothered by his oath that he'll do whatever to make things right.... I feel like by the time Diana talks to Natalie about her brother, she has made the decision to leave and is already starting to feel more focused and independant.
Ok that might make NO sense at all. I'm bad at expressing things like that.
Now what would you say if today I started over?
Without a thing but this taped together four leaf clover
And I'll pretend like everything is already alright
And I'll run toward the sun till the castle's out of sight
#142
Posted: 1/21/08 at 5:01pm
I saw this show on Saturday night after bumping into my friend who is in the cast. He suggested I see the show raving about how much he loved it. So, I went that night, knowing NOTHING about it and I fell in love with it. I haven't seen anything this good in a LONG time. The score, story and cast were all phonomenial. I'm actually attending again tomorrow night with 4 other friends. I have raved about this show to everyone I know and hopefully it will make the transfer to Broadway.
Updated On: 1/23/08 at 05:01 PM
#143
Posted: 1/21/08 at 6:54pm
Saw this last night after only just hearing in passing that Feeling Electric was getting buzz in its various incarnations in the last 2 yrs. Have to say that I really enjoyed it and it was a very powerful show. I'd like to go back once things are frozen and changes are done. After finally reading thru all the critiques here, I have to agree with one of joniray's comments. "Costco" worked, but it didn't work for me. It did seem more like exhaustion from shopping instead of a breakdown. I was a bit surprised to have Dan rush in and realize it was Diana having an episode. Not sure it set up Diana's history for us.
As for the cast, Aaron Tveit knocked my socks off. I saw his Link Larkin a few times, but hearing him sing this score was a highlight for me. Don't really have any complaints about the rest of the cast, except Asa Somers. He sang well, sang the rock star stuff well....but he just came off very bland? during his dialogue and I don't think I really ever warmed up to him or cared what he had to say.
Either way, glad I saw it...and wish it well. The house was packed last night.
As for the cast, Aaron Tveit knocked my socks off. I saw his Link Larkin a few times, but hearing him sing this score was a highlight for me. Don't really have any complaints about the rest of the cast, except Asa Somers. He sang well, sang the rock star stuff well....but he just came off very bland? during his dialogue and I don't think I really ever warmed up to him or cared what he had to say.
Either way, glad I saw it...and wish it well. The house was packed last night.
#144
Posted: 1/21/08 at 10:10pm
Loved your post, joniray. I'm in agreement with most everything you said - great constructive criticism and ideas. Though, as far as the Diana/Natalie scene is concerned, I agree with Em - I think having that moment with her daughter serves to give her more strength to leave, knowing that she's at least come to some sort of understanding with her daughter, and vice versa.
I'm hoping to go back in a week or so to see changes and such.
I'm hoping to go back in a week or so to see changes and such.
#145
Posted: 1/22/08 at 11:11pm
bump
Update coming tomorrow, exhausted tonight.
Update coming tomorrow, exhausted tonight.
#146
Posted: 1/22/08 at 11:52pm
I was there on Saturday night. I had no reference to the show EXCEPT for rumblings and postings.
THEREFORE, I had no point of reference for what SHOULD have been or could have been but only what was.
There were many things that moved me greatly throughout the show. I ACTUALLY liked Natatlie giving the line about her brother. Even though I KNEW there was a deceased child...I didn't realize it was Gabriel. In retrospect, I took his lack of connection to the family in the scenes as a visual breakdown of the family dynamic. I actually gasped. (However, the comment about it coming out in song sounds like a great idea.)
Overall I was moved to tears many times. I look forward to seeing a later run of the show to see what they might have changed around.
I could see many of the criticisms of ACT II, and I do think it stills needs a little bit of work.
Here was my biggest complaint: Natalie and the drug use. The first time they show her taking the Rx drugs, its' hard to imagine that there is no ill side affects to the mixing and amount: particularly since she isn't use to taking ANYTHING.
As far as performances: I LOVED all the men...except for ASA. While he has a nice voice; I did not love many of his choices.
Loved the other 3 entirely entirely.
I liked Jenn, but found her inconsistent. Alice, dear Alice. I was disappointed here AT TIMES. She seemed to really struggle with her voice Saturday night. I also found her "crazy" lady a bit melodramatic.
LOVED THE SET and the use of the set. LOVED the lighting.
Was not thrilled with the sound...I could not always understand dialogue that was underscored...and sometimes it even drown out the actors singing. But not beyond recognition.
THEREFORE, I had no point of reference for what SHOULD have been or could have been but only what was.
There were many things that moved me greatly throughout the show. I ACTUALLY liked Natatlie giving the line about her brother. Even though I KNEW there was a deceased child...I didn't realize it was Gabriel. In retrospect, I took his lack of connection to the family in the scenes as a visual breakdown of the family dynamic. I actually gasped. (However, the comment about it coming out in song sounds like a great idea.)
Overall I was moved to tears many times. I look forward to seeing a later run of the show to see what they might have changed around.
I could see many of the criticisms of ACT II, and I do think it stills needs a little bit of work.
Here was my biggest complaint: Natalie and the drug use. The first time they show her taking the Rx drugs, its' hard to imagine that there is no ill side affects to the mixing and amount: particularly since she isn't use to taking ANYTHING.
As far as performances: I LOVED all the men...except for ASA. While he has a nice voice; I did not love many of his choices.
Loved the other 3 entirely entirely.
I liked Jenn, but found her inconsistent. Alice, dear Alice. I was disappointed here AT TIMES. She seemed to really struggle with her voice Saturday night. I also found her "crazy" lady a bit melodramatic.
LOVED THE SET and the use of the set. LOVED the lighting.
Was not thrilled with the sound...I could not always understand dialogue that was underscored...and sometimes it even drown out the actors singing. But not beyond recognition.
If we're not having fun, then why are we doing it?
These are DISCUSSION boards, not mutual admiration boards. Discussion only occurs when we are willing to hear what others are thinking, regardless of whether it is alignment to our own thoughts.
#147
Posted: 1/23/08 at 12:02am
I think I must be the only one who really loved Jenn in the role. I have no criticisms for her at all, and actually thought she was one of the strongest in the cast.
#148
Posted: 1/23/08 at 12:24am
When I saw it last the drums were a little heavy. As in, I had trouble with hearing the actors because there wasn't a good balance.
Miss the "countdown" at the beginning of Feeling Electric and did anybody else notice a crib fly in at one point? That was weird. I wasn't sure if that was new or if I'd just never seen it but I wasn't a huge fan.
I feel like the song "Open Your Eyes" has got to go along with part of "Perfect for You" (song sounds like Something Bad from Wicked and goes on too long)
With all the above criticism... I LOVE the show. I feel like Brian D'Arcy James, Alice Ripley, Jenn and Aaron Tviet are all doing exceptional work. There are so many beautiful/exciting moments. I leave humming the music. And the cast are all so very in the moment... willing to actually REACT honestly to what is going on onstage instead of just being in their own space - the cast seems very CONNECTED for this early in previews.
I like the new ending a lot better - but an old man behind me said as we were leaving "wait... did she come back?" Is there ANY WAY they can NOT line up together at the end - that moment between Alice and Brian is VERY confusing. I love the imagery of them spread on all levels of the set, I don't understand the coming together (even though nobody is now hugging or holding hands which is fantastic)
All in all - love the show. Can't wait to go back. Very intense performances and a beautiful score. They've got a good show coming here.
Miss the "countdown" at the beginning of Feeling Electric and did anybody else notice a crib fly in at one point? That was weird. I wasn't sure if that was new or if I'd just never seen it but I wasn't a huge fan.
I feel like the song "Open Your Eyes" has got to go along with part of "Perfect for You" (song sounds like Something Bad from Wicked and goes on too long)
With all the above criticism... I LOVE the show. I feel like Brian D'Arcy James, Alice Ripley, Jenn and Aaron Tviet are all doing exceptional work. There are so many beautiful/exciting moments. I leave humming the music. And the cast are all so very in the moment... willing to actually REACT honestly to what is going on onstage instead of just being in their own space - the cast seems very CONNECTED for this early in previews.
I like the new ending a lot better - but an old man behind me said as we were leaving "wait... did she come back?" Is there ANY WAY they can NOT line up together at the end - that moment between Alice and Brian is VERY confusing. I love the imagery of them spread on all levels of the set, I don't understand the coming together (even though nobody is now hugging or holding hands which is fantastic)
All in all - love the show. Can't wait to go back. Very intense performances and a beautiful score. They've got a good show coming here.
Now what would you say if today I started over?
Without a thing but this taped together four leaf clover
And I'll pretend like everything is already alright
And I'll run toward the sun till the castle's out of sight
#149
Posted: 1/23/08 at 12:26am
Exactly how many times have you see it, LeaGirl?
"I'll cut you, Tracee Beazer!!!!
...Just kidding. I'd never cut anyone." -Tina Maddigan, 9/30/06, WS stage door
Avatar: JULIE "EFFING" WHITE, 2007 TONY WINNER. Thank God. I'm thinking about legally changing my name to Lizzie Curry...
Avatar: JULIE "EFFING" WHITE, 2007 TONY WINNER. Thank God. I'm thinking about legally changing my name to Lizzie Curry...
#150
Posted: 1/23/08 at 12:31am
Lots, I enjoy it. Everyone to their vice, I suppose.
Now what would you say if today I started over?
Without a thing but this taped together four leaf clover
And I'll pretend like everything is already alright
And I'll run toward the sun till the castle's out of sight
Updated On: 1/23/08 at 12:31 AM
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