dseaver70 said: "Nah, "not great" is a very kind assessment, but I did NOT have fun. I have lived in New York for a quarter of a century and this is the WORST Broadway musical I have ever seen (and I saw things like Glory Days, Soul Doctor, Scandalous....and PARADISE SQUARE). When it comes to expanding on this, I don't even know where to start. Design performances, writing....but DIRECTION! LAZY, AWFUL and at time HEINOUS! Is this the new standard for Broadway?"]]
Laurence Connor should simply not be hired and I don't understand why ALW or Cameron are obsessed with him other than that he just follows their orders. He is not West End standard or Broadway standard. His best work is where he has plagiarised others' direction and he isn't one I would entrust an original piece with.
The Scorpion said: "I don't understand why ALW or Cameron are obsessed with him other than that he just follows their orders."
The second half of your sentence answers the first half :)
They want pliable directors who are easy to work with, and who can get a show up and running on time and on budget with limited fuss and will incorporate their every note. It's the same reason for movie execs hiring a "studio hack" to direct a franchise film.
Now, I do think Laurence Connor deserves more credit than we give him for SCHOOL OF ROCK. Yes it was incredibly faithful to the movie, but getting really solid performances out of kids is easier said than done. JoAnne Hunter and the associates might deserve some of that credit too, tho. I only saw the original cast so can't compare replacements in this case.
2. Is Jordan Dobson just on leave and do we know when he'll be returning to the show? I don't remember the last time a lead was out of a preview process like this (outside of COVID/illness)"
Probably just wasn’t fulfilling or meaningful to him. Unless there’s another story out there
This show is pretty much dreck through and through, but I think I kind of had fun? The tone of the show is definitely off and teeters between farce, pantomime, camp, and some other things, but never quite commits to one. The book is full of gaping plot holes and bad jokes. The score fares a little better than the book. There are some good songs in the show, and I enjoyed the orchestrations.
The cast does their best, but even Carolee Carmello and Grace McLean can't spin gold from nothing. Linedy Genao was alright - nothing too memorable or special about her performance, but not terrible either. Jordan Dobson's voice sounded great, especially considering he had been out sick recently.
The set and costumes looked cheap, cheap, cheap. The cutouts for the village buildings were very wobbly and looked like they might topple at any second. Cinderella's ball gown looks just like a cheap knock off of Elsa's dress from Frozen, and between that costume design, the quick change, and lighting effects, I was fully prepared for her to start singing "Let It Go" to close the first act. There were some nice moments with the lighting design.
I don't think this will be received well critically, and I can't imagine there will be very many (if any) Tony nominations for this. While I had fun, I can't really say I'd recommend this one unless you can see it for less than $50 and are fresh out of options from this other season's offerings.
"There’s nothing quite like the power and the passion of Broadway music. "
Gonna lead with the negative, but mostly had a really good time!
My biggest takeaway with this show is that ALW & his coauthors do not actually want to make a Cinderella musical: They want to make a musical about the Royal Family of Bellville, a town in which a character named Cinderella happened to live. Centering it on the Prince and his mother might have been a more satisfying narrative than the attempt at a angsty Cindy figure as protagonist. She disappears for stretches of the show. It's not helped by some clumsy plotting at the end of act 1 (a rushed Godmother sequence as we're getting antsy for intermission) and the latter half of act 2 (an entire sad ballad all based on a wrong assumption).
Linedy doesn't have the "it" factor, and the writing also isn't there to support her. I kept thinking the part needed someone with the energy that Alanna Haim brought to the movie LICORICE PIZZA last year.
THE GOOD: The choreo is strong (with exception of some clumsily-staged crowd sequences which might not be Joanne's fault), the rest of the cast is great, and there are some nice tunes by ALW and David Zippel Only You is a gorg ballad; Man's Man and I Know You are delicious musical comedy numbers; we'll hear them all in cabarets from years to come. Every good thing said about Carolee and Grace is true and then some. Also enjoyed our noodly Prince Sebastian.
I'm hoping to get some seating advice. As a general rule:
I much prefer orchestra over mezzanine.
For side orchestra seating, I don't like being more than one or two seats off the aisle.
For the performance I'm interested in, I can get:
Center orchestra row M for $215.50
Center front mezzanine row B for $145.50
I believe the mezz overhangs orchestra row H at the Imperial, which suggests that the mezz seats would be a little bit closer to the stage than the orchestra seats. However, my primary concern is whether the view from center orchestra row M view would be impeded by the mezz overhang [I hate when the overhang makes the stage appear "letterboxed"]. I looked at pics on View From My Seat and found them inconclusive in this regard. If anyone has experience with this area, I would really appreciate any insight you might be able to offer.
==> this board is a nest of vipers <==
"Michael Riedel...The Perez Hilton of the New York Theatre scene" - Craig Hepworth, What's On Stage
Thanks Taffy. As this image includes a copyright, I'm assuming it's not yours. I looked at several similar shots on View From My Seat, and some (like this one) suggest that the mezz overhang does not intrude on the view of the stage, while others seems to show the ceiling of the overhang across the top. I'm still confused!
==> this board is a nest of vipers <==
"Michael Riedel...The Perez Hilton of the New York Theatre scene" - Craig Hepworth, What's On Stage
That pic is from Seatplan, which is the only site I use for looking at seat location photos. I’m happy it’s becoming popular in the states because it’s saved me so many times in the UK from choosing terrible seats. Also, if you sign up and upload pics of your own you can earn telecharge gift certificates. I’ve redeemed hundreds of dollars worth of them from Seatplan, so it is 100% legit and reliable.
Jordan Catalano said: "That pic is from Seatplan, which is the only site I use for looking at seat location photos. I’m happy it’s becoming popular in the states because it’s saved me so many times in the UK from choosing terrible seats. Also, if you sign up and upload pics of your own you can earn telecharge gift certificates. I’ve redeemed hundreds of dollars worth of them from Seatplan, so it is 100% legit and reliable."
Jordan - I can't thank you enough for bringing this site to my attention! It's so much better than aviewfrommyseat.com. I just signed up for an account and will be posting pictures on here for sure! Thanks again!
"There’s nothing quite like the power and the passion of Broadway music. "
Yes, they're great, and I've also redeemed hundreds of dollars of Telecharge gift cards from there. Unfortunately, a lot of people don't know how to take good seat view photos. With few exceptions, they should be in portrait mode, not landscape. Not only is the distance more accurate, but, in the case of Lot666's question, you'd be able to see the mezzanine overhang, and how intrusive it is, if at all.
Jordan Catalano said: "That pic is from Seatplan, which is the only site I use for looking at seat location photos. I’m happy it’s becoming popular in the states because it’s saved me so many times in the UK from choosing terrible seats. Also, if you sign up and upload pics of your own you can earn telecharge gift certificates. I’ve redeemed hundreds of dollars worth of them from Seatplan, so it is 100% legit and reliable."
Thank you for this!! I've been shopping for tickets for my London trip and was so confused as to why A View From My Seat barely had any pics for the West End theatres, so I've been booking blindly. This site is SO helpful! Just checked the view for the exact seats I have booked for Cabaret, Crazy For You and Pretty Woman and they're all fantastic! You've really helped me out!
And for the time being, it's great to be posting on SeatPlan because they'll give you double points since there aren't as many photos yet (which means you can collect gift cards quicker). I think the main issue is people don't know about it as much, but it's so much easier to use than View From My Seat for Broadway shows, so it's where I go first.
Interesting. NY Tix currently has COME FALL IN LOVE listed as previews starting on Nov 8th followed by an opening date of Dec 1st…… At the Imperial Theatre.
Does this mean a BAD CINDERELLA closing announcement is already in the works…?
SpookyFish13 said: "Interesting. NY Tix currently has COME FALL IN LOVE listed as previews starting on Nov 8th followed by an opening date of Dec 1st…… At the Imperial Theatre.
Does this mean a BAD CINDERELLA closing announcement is already in the works…?"
That definitely makes sense! It’s just funny that they would pull a preview/opening date AND a theatre out of thin air… But you’re probably right, although it’ll be interesting to see what happens!
All they do is pull stuff out of thin air. They have Merrily incorrectly at the Broadway Theatre from October 3 through December 24, even though they also have Here Lies Love listed there with an open-ended run. They even have a theatre and opening/closing dates for Thelma & Louise. The site is a joke.