I'm hopeful, but not optimistic, that they've made beneficial changes between their Kennedy Center run and Broadway. The show that I saw in DC in December needed SUBSTANTIAL book and lyrical revisions.
BroadwayConcierge said: "I'm hopeful, but not optimistic, that they've made beneficial changes between their Kennedy Center run and Broadway. The show that I saw in DC in December needed SUBSTANTIAL book and lyrical revisions.
BroadwayConcierge said: "I'm hopeful, but not optimistic, that they've made beneficial changes between their Kennedy Center run and Broadway. The show that I saw in DC in December needed SUBSTANTIAL book and lyrical revisions.
Just curious when in the DC run you saw it? They had several weeks of previews and then the hard opening. What didn't you like? I saw it toward the end of the run, and liked it. It's decidedly an old fashioned, 1950's kind of musical in the sense that for the most part everyone goes to the beach as it were, and it has that 1950's sentimentality which, again, isn't for everyone. Like all shows, there are songs I like and songs that I don't care for, but those don't by any means kill the show for me. What I can say is that the show got a standing ovation that night, and it's my understanding that with the exception of a few of the early previews, they got standing ovations every night.
LostinTranslation said: "BroadwayConcierge said: "I'm hopeful, but not optimistic, that they've made beneficial changes between their Kennedy Center run and Broadway. The show that I saw in DC in December needed SUBSTANTIAL book and lyrical revisions.
Just curious when in the DC run you saw it? "
I'm going to take a wild guess and say the poster saw it in december.
In our millions, in our billions, we are most powerful when we stand together. TW4C unwaveringly joins the worldwide masses, for we know our liberation is inseparably bound.
Signed,
Theater Workers for a Ceasefire
https://theaterworkersforaceasefire.com/statement
I get that but the show most likely change (and tightened performance wise) between the first preview and opening night, and quite frankly later in December.
This was discussed extensively in the previous Bright Star thread, but I imagine the same changes (book wise) are still needed that were needed when I saw the show at Vassar several years ago. It's not something that can be fixed in previews. It's a problem that is built into the conceit. It's not fixable at this point. If they were going to fix it, it would have been done by now.
That said, I love the score and look forward to seeing it next week.
I'm not seeing it until Saturday, but I'm curious if those who have seen it and who are planning to see it are seeing it because of interest in the bluegrass score, because of the 1950s time frame, because of interest in Martin and Brickell, or for any one particular actor. I make it a point to catch any stage work Paul Alexander Nolan is in, but I'm also really looking forward to seeing Carmen Cusack. The preview videos I've seen and heard have been great. Then again, I have more of an interest in country/bluegrass music than other genres.
SLSigafoos said: "I'm not seeing it until Saturday, but I'm curious if those who have seen it and who are planning to see it are seeing it because of interest in the bluegrass score, because of the 1950s time frame, because of interest in Martin and Brickell, or for any one particular actor. I make it a point to catch any stage work Paul Alexander Nolan is in, but I'm also really looking forward to seeing Carmen Cusack. The preview videos I've seen and heard have been great. Then again, I have more of an interest in country/bluegrass music than other genres.
As someone who also likes Bluegrass, I really liked the score. I think there are fair criticisms that some of the lyrics are little simplistic. I think Steve Martin covers a lot of ground from pure Bluegrass in five string style and frailing, as well as country swing. The main soloists, Bennett Sullivan on banjo, and Martha McDonnell on fiddle, are really extraordinary.
Carmen Cusak does an extraordinary job of living in the skin of both the old Alice and the young Alice. Paul Alexander Nolan is wonderful as Jimmy. I think they have great chemistry together.
I'm always a bit dubious when the composer(s) for a show can neither read nor write music; it worked out fine for Mel Brooks (thanks to Glen Kelly) and Cyndi Lauper (thanks to Stephen Oremus), but not so well for Sting, Bono/The Edge, Dolly Parton and others. Not that these people aren't all accomplished at singing and/or playing an instrument or two; but composing a show can be seen as needing more technique.
Martin plays a mean banjo (by ear), and Brickell is famous for (like Mel Brooks) coming up with lyrics and melody, but is unable to create the harmonic structure for a song (without what appears to be the help of the excellent Rob Berman).
Isn't it often the case the composer is a different person than the lyricist? Even shows without famous writers?
In our millions, in our billions, we are most powerful when we stand together. TW4C unwaveringly joins the worldwide masses, for we know our liberation is inseparably bound.
Signed,
Theater Workers for a Ceasefire
https://theaterworkersforaceasefire.com/statement
neonlightsxo said: "The music for this show isn't the problem. The book is the problem."
Yes, the music isn't shabby, and I agree that the book is the fundamental problem—but musically related are the lyrics, some of which were straight-up terrible. I'll never forget "a man's gotta do what a man's gotta do when a man's gotta do what he's gotta do" OVER AND OVER AND OVER AGAIN.
Will be there tonight. I picked up a single rush ticket at 6:30, $30, front row orchestra aisle. The woman at the box office was amongst the nicest I've encountered. Looking forward to the show.
"it worked out fine for Mel Brooks (thanks to Glen Kelly) and Cyndi Lauper (thanks to Stephen Oremus), but not so well for Sting, Bono/The Edge, Dolly Parton and others."
I'll give you Bono/The Edge since the score to Spiderman was terrible, but 9 to 5 has a very solid score (not the reason it was unsuccessful) and The Last Ship actually was fairly praised for its score. I don't think you can judge a show's success on the composer being able to read music. Now if the score sucks, that's another story.
Thanks! Checking their twitter would have been the next step. Usually relying on BWW to have an announcement (I don't follow on the individual shows as I don't need all their advertising, but follow all the general sites) and I didn't see one today.