#1
Posted: 11/23/08 at 11:49pm
Stood outside of 54 today on the rare chance of getting a tkt.
The show is pretty much sold out at least for a while.
I bargained and got a orch seat for a song.
And a song it was. This show has always been a mystery to me mainly because no recording captures the score. Any points to a better more complete recording than the original Broadway are appreciated.
The show is much darker than I thought, it captures a time when people were desperate, we should all take note about getting ahead in Life.
I loved Scott Pask's design and Paul Gallo's lighting, they were able to evoke a time and many moods and scenes all over a smokey Grey Chicago.
William Ivey Long's costumes started out a bit borrowed from CABARET but then settled into very stylish period, down to the patrons of Chez Joey in gorgeous gowns.
I knew Stockard Channing could act and carry a tune, I was more worried about the Glamour, which in Long's Monroe inspired Golden Number, is Drop Dead.
She attacks BEWITCHED, BOTHERED AND BEWILDERD like a Shakespeare monolouge and thanks to Hart's lyrics, pulls it off.
Martha Plimpton is a knock out in a part that has been greatly rethought.
She has the perfect world weary attitude to hit every line and lyric.
The way the part has evolved she is now the victim/villian and part of that works and part doesn't.
But she is giving another memorable performance.
I did not see Christian Hoff so I can't comment on him but I will say Matt Risch was amazing as Joey.
You would never imagined he had been thrown into this show with one rehearsal and one show. And it takes a lot of other people to make a big change so quickly, the other performers and all the technical people as well.
It was very smooth.
And Mr. Risch was as smooth and alluring as silk.
He did start off slightly tenious, but the character allows that.
What I felt he did was, not play seedy at all, play with integrity in what the character is aiming for.
I felt Joey actually was attracted to the women in his life but had no idea how to balance that.
A natural charm and interest go a long way.
Rish's dancing has great style and his vocals were very warm and can only get stronger.
And he carries most of the show.
Montello and Greenberg have not solved a few slow spots but have come up with a workable plot that only twindles when they introduce a gay sub plot.
I enjoyed this show and the score is so rich, the mousey Linda, pitched perfect Jenny Fellner, has two gems ARE YOU MY LOVE?
and I STILL BELIEVE IN YOU.
A lot has been discussed about how Joey should be played. but Risch captured the character with his youthfull arrogance and confusion.
An interesting matinee.
The show is pretty much sold out at least for a while.
I bargained and got a orch seat for a song.
And a song it was. This show has always been a mystery to me mainly because no recording captures the score. Any points to a better more complete recording than the original Broadway are appreciated.
The show is much darker than I thought, it captures a time when people were desperate, we should all take note about getting ahead in Life.
I loved Scott Pask's design and Paul Gallo's lighting, they were able to evoke a time and many moods and scenes all over a smokey Grey Chicago.
William Ivey Long's costumes started out a bit borrowed from CABARET but then settled into very stylish period, down to the patrons of Chez Joey in gorgeous gowns.
I knew Stockard Channing could act and carry a tune, I was more worried about the Glamour, which in Long's Monroe inspired Golden Number, is Drop Dead.
She attacks BEWITCHED, BOTHERED AND BEWILDERD like a Shakespeare monolouge and thanks to Hart's lyrics, pulls it off.
Martha Plimpton is a knock out in a part that has been greatly rethought.
She has the perfect world weary attitude to hit every line and lyric.
The way the part has evolved she is now the victim/villian and part of that works and part doesn't.
But she is giving another memorable performance.
I did not see Christian Hoff so I can't comment on him but I will say Matt Risch was amazing as Joey.
You would never imagined he had been thrown into this show with one rehearsal and one show. And it takes a lot of other people to make a big change so quickly, the other performers and all the technical people as well.
It was very smooth.
And Mr. Risch was as smooth and alluring as silk.
He did start off slightly tenious, but the character allows that.
What I felt he did was, not play seedy at all, play with integrity in what the character is aiming for.
I felt Joey actually was attracted to the women in his life but had no idea how to balance that.
A natural charm and interest go a long way.
Rish's dancing has great style and his vocals were very warm and can only get stronger.
And he carries most of the show.
Montello and Greenberg have not solved a few slow spots but have come up with a workable plot that only twindles when they introduce a gay sub plot.
I enjoyed this show and the score is so rich, the mousey Linda, pitched perfect Jenny Fellner, has two gems ARE YOU MY LOVE?
and I STILL BELIEVE IN YOU.
A lot has been discussed about how Joey should be played. but Risch captured the character with his youthfull arrogance and confusion.
An interesting matinee.
