BEAUTIFUL: The Carole King Musical preview thread — Page 4

Kelly2, I just found an article about why Carole wont see the show!

http://www.playbill.com/news/article/185755-So-Far-Away-Why-Carole-King-Wont-See-the-Beautiful-Musical-About-Her-Life?tsrc=hph

I'm glad the show is doing well, even though that means there aren't a lot of seats available for rushing. Maybe during the week would be easier. Let's see how the reviews are!

Just as a note on the subject of the show sticking around, they've actually been selling out regularly and someone I know involved with the show said they have very, very healthy advance sales through the end of the block of tickets that are on sale.

The earliest I could imagine it closing would be in the fall/winter of next year, and I think a lot of that will depend on how they fare at the Tonys. With Aladdin, Les Mis, Bridges, and If/Then yet to be reviewed, it's hard to say how much competition they'll provide. Aladdin and Bridges weren't raved about out of town and If/Then's reviews were very mixed, though they did all say the show had great potential. In my mind, of the shows you mentioned, that would definitely be the biggest competition. Also, I want to mention Bullets Over Broadway which seems, to me, to have the makings of a possible big hit. A very interesting season no matter how you look at it, we're pretty dang lucky to have all these new pieces that people are so excited about coming in. Awards season should be very interesting, that's for sure.

You're right! To be honest, I don't see Beautiful winning Best Musical though. Their strength is going to be, again just my opinion, in the acting categories (for Jessie, of course, but I think depending on what happens Jake and Anika have a chance) and some of the design categories (the set is just amazing). I could see them getting a nomination for Best Musical but I don't imagine they'll win.

For the record, I'm of the mind that it's almost impossible to predict at this point since a lot of the big budget shows have yet to be seen or reviewed by New York audiences and some, like Bullets, haven't had public performances anywhere yet. It's still very early to me to make any real predictions on the Tonys, but it certainly is a strong and competitive season. The reason I think Beautiful does stand a chance financially is that the demographic they're targeting isn't the demographic shows like Aladdin or After Midnight or Bullets are really going after and it's a demographic that buys tickets en masse. Look at Jersey Boys and Motown, both doing great business with a similar model.

Have they really been selling out? The numbers certainly don't reflect that. They didn't even break 1 million over the holidays. So to say they are selling out regularly is not true. Great show though I will admit. I'm rooting for Jessie for the Tony for sure!

Oh ok I guess selling at 80 percent or less can still be considered "sold out"?

Just got back from the show. I'll start with the obvious. Jessie Mueller is amazing. The show is not perfect, but I enjoyed it. More than even (gasp!) Kinky Boots.

My main concern was I never could really answer what the show is about. I know it's called "Beautiful: The Carole King Musical", but a lot of the time it didn't feel like it was about her at all. There was so much time when Carole was sidelined. I never could answer what were Carole's wants, thoughts, desires? Every good musical asks those questions in the first few moments and then spends the rest of the musical exploring it. Is it about her coming into her own? Is about her great love for her husband? I couldn't tell you what it was really about because the storytelling of who Carole really, really was just wasn't there. It was almost as if they were in too much respect of the real Carole to make Stage Carole anything other than a perfect, unflawed person. That or they knew audiences just wanted to see hit songs performed on stage.

Now having said all that, I really really liked the show. I hope it finds a wide audience because I would love to see this thing run a long, long time. Also, Anika Larsen should be getting even more praise. She lit up the stage every time she was on.

I'm not sure how anyone can make statements like "I really think Mueller has the Tony" in the beginning of January with shows starring Kelli O'Hara in a role written for her that she's reportedly incredible in, Idina Menzel in a brand new musical, critical darling Sutton Foster in a production that was very well received, and Marin Mazzie in a show poised to be a massive hit, among other leading women of course, that have yet to even begin previews. I don't doubt that Mueller has a great chance at a nomination but to say she'll win it for a show that hasn't even be reviewed yet is absurd. This will be one competitive year though for best actress in a musical.

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It depends on whether the voters are going to go for a revival of a revival that is still easily remembered, regardless of the quality of Williams' performance (and I do believe she will be great).

The Actress category this year is tight.

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For those curious, Ben Brantley was at the show last night and I overheard someone say he brought along his mother? Adorable.

*MAY CONTAIN SPOILERS*

Was there last night and it was Sold Out/SRO, in addition to it being press night. Although the start gave me a bit of whiplash (Falling in love to a 5-month old baby in under 10 minutes?), it blossomed into a very well done show. Jessie Mueller deserves her Tony now, enough said. The supporting players, Jarrod Spector and Anika Larsen were also very funny. Jake Epstein, while fairing the worst in terms of character development (which seems eerily parallel to his Degrassi role) also did a fantastic job. I highly recommend this show, especially because compared to other jukebox shows that have come about (*cough* Motown), this one is a real gem with heart.

(Stage Door Report: Jessie Mueller (who is one of the sweetest women I have ever met), Jarrod Spector (who is adorably quirky in person), and assorted ensemble came out after the show. There were a total of three of us)

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imo, a major disappointment. Two hours of a not-very-interesting story, waiting for Carole/Jessie to bloom and knock us out with a mini-concert at the end. If the show is about Carole, why are all the entertaining bits from Cynthia and Barry? And why so many songs by Cynthia and Barry? In looking through the Carole/Gerry list of songs, there are at least a dozen others that could have been used, rather than bringing in songs by other composer/lyricists that are not germane to Carole's story. What we're left with is a pale copy of a FUNNY GIRL-type musical, but the lead hasn't been written to really engage or fascinate us. t think Jessie Mueller is tremendously talented, but she is tamped down by the material until the last few songs. And why not stage the final mini-concert differently, by turning the piano where we can actually see Carole's face as she unleashes her power. Clearly, this is what the audience came to see, not bland reproductions of 60s bubble-gum pop (that's already going on elsewhere on Broadway). The audience loved the mini-concert, but the first two hours mostly received polite applause. I wanted to love this show (I love Carole and Jessie) but most of the show never delivered an interesting portrait of either. Anika Larsen and Jarrod Spector stole the show, imo.

I have to disagree with jayinchelsea. I think Carole is defined quite well as a character. From the beginning, she was low key, she wanted her music to speak for her. She was not comfortable with her appearance and being front and center. Cynthia has always been flashier and sexier (and still is). That's why the end is so satisfying.

Also, I think Jessie has a great lead in the Tony race. Her character is likable, the story is fresh and upbeat and she sings the hell out of those songs, often perfectly mimicing Carole's voice.

I think the Tonys prefers this type of role to maudlin shows that wont tour. Kelly and Idina may be strong, but I sense that the reception will be mixed.

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