BRIGHT STAR Previews — Page 9

Like what she sings, Carmen has waited a long enough time to get to Broadway. She deserves this and I hope this isn't the last and only show we see Carmen in. Maybe if this doesn't last past the summer she can replace Rachel in wicked.

Just trying to get the post from BroadwayConcierge to show up.

I forgot about the new Tony rules that allow (if there is a tie in the nominating process) the acting categories to expand to 6 or even 7 nominees. If ever there were a season where there are at least six worthy women in the Best Actress category, it's this year! Benanti, Ervio, Mueller, Cusack, Soo, McDonald are all worthy of a nom. I hope it happens!

I've talked over the years to a number of people involved in the Tony Awards and the exact semantics of how the Tony nominators do their work is a tad of a mystery. The voters do all come together in one room to cast their votes for nominations, but apparently there is no communication between them.



But here is the 'news' of this change as articulated in the New York Times. I assume a number of 'ties' in the past are what inspired this new policy.





Tony nominations are decided each year by secret ballot during a closed-door meeting of a special panel of writers, designers, actors and other theater veterans. At the 2014 meeting, there were reportedly a number of ties for the fifth nomination in acting categories, leading to more rounds of voting.



According to the administration committee’s statement on Thursday, in the event of a two-way or three-way tie for the last slot of nominations in any acting category, both or all three of the tied actors or actresses will receive nominations.



The committee also decided that if there are at least seven eligible candidates for nominations for best direction of a play or best direction of a musical, the number of nominees will increase to five from four. Similarly, if there are at least seven eligible contenders for best choreography, the numbers of nominees will rise to five from four. Most theater seasons have at least seven directors and choreographers who are eligible for nominations in their respective categories.

Updated On: 3/22/16 at 10:48 AM

I like that Bright Star, reprise, is on the track listing after the Finale. The last few minutes of the show are so upbeat and I really like that they're keeping that tone on the cast recording. I really enjoy when the casts reprise a number at the curtain call rather than just bowing and leaving the stage.

I'm sorry, Concierge, but I completely disagree. 'Asheville', 'What Could Be Better', 'Heartbreaker', 'Another Round', 'I Had a Vision', 'Always Will', and 'So Familiar' jump out, to name a few.

No need to apologies, Cinders, I've come to realize that this show just has elements that put people on totally opposite sides of the spectrum! I appreciate that you appreciate those songs, though, even though I would maintain that I think they are titled in a rather watery and, as Scarywarhol wrote, "non-specific" manner. To each his/her own!

It features human characters who do speak with much more distinction and specificity in Martin's still basically benign book than in the songs. It almost feels like a jukebox show. I'm coming off as harsh when I had a pleasant time, but this is not a model of writing musical theatre.

Does anyone know if Steve or Edie have been at any recent shows?

LostinTranslation, I completely understand where you're coming from—let me try to further explain my point. You're certainly right that when you're sitting in the theatre, you'll see/hear the performers simply sing. But to take a step back and look face-value at a show's score, I find myself to connect far more to scores that I can associate strongly with that body of work. Let me give you a few examples (of totally randomly selected shows):

Wicked: "Defying Gravity," "The Wizard and I," "Popular"

The Color Purple: "Push da Button," "I'm Here"

School of Rock: "Stick It To the Man," "You're in the Band"

Hamilton: "My Shot," "Who Lives, Who Dies, Who Tells Your Story?"

Book of Mormon: "I Believe," "Hasa diga Eebowai"

Something Rotten: "Bottom's Gonna Be on Top," "Hard to Be the Bard"

Fun Home: "Ring of Keys," "Telephone Wire"

A partial reason why I think those shows—which, again, were randomly selected—have successful scores is because you'll never see a handful of song titles from those shows and say, "Hmm, I can't remember which show those are from." You'll know.

By contrast, if you ask me to look at the song titles (which are lyrics in themselves) from Bright Star one year from today, I guarantee you I wouldn't be able to tell you which show they were from. Maybe "Asheville," maybe "Sun's Gonna Shine"—but altogether, it just simply not that distinguishable of a written score when placed against a number of other contemporary scores for today's theatre.

I generally don't care about spoilers but after seeing the show tonight I was especially glad that I'd stayed away from any word of mouth because I gave myself the best possible chance of enjoying this show. And I did for the most part really enjoy this show. I left the theatre having laughed a lot and feeling lighter. But that doesn't mean isn't flawed... because it is. And I wonder how much work is being done in this final week to fix that.

In my mind, the problem starts

From that point on, everything that's supposed to be really serious or dramatic lacks impact and you can see every reveal coming a mile away. I think maybe it was fear. The villains were not as evil as they could have been and it didn't give Alice enough to push back against. The big moment that closes act 1 is absolutely ridiculous. That is a BIG problem. It's not supposed to be funny but it is. In about five minutes at intermission, I and my seatmate had figured out the big twist. Even if we hadn't, there was just no real danger or tension. You just kind of sensed that nothing that bad was going to happen the whole time. And yes, it kind of made me feel like... why am I watching the story of these privileged white people. By the end I was unconvinced, even with the time period, that this needed to be an all-white cast.

As for the rest of the show, I really enjoyed the music. I don't think it'll end up being classic fare and I can't remember any of the melodies well but it's pleasant and it does the job. I've certainly heard worse music and worse lyrics in a show. I thought there were only a few numbers or moments that were mediocre/subpar. The vocals were generally good. I don't want to oversell the book but I was pleasantly surprised by how funny it was and it kept the story buoyant, particularly through those predictable parts that could have been tiresome.

Even if you wanted to make an argument about an overt representation of society's condemnation or community or something, for the most part the use of the ensemble and all of that movement felt unnecessary. There are already dances written into the show. Those should suffice.

There were many great performances. Emily Padgett didn't have much to do but she made the most of her one big number. Carmen Cusack was great throughout and surprisingly believable in her younger incarnation but I don't think she's a threat for the Tony because the material just isn't there for her as well as she plays it. I always love Paul Nolan and only wish that he sang more. I'm glad he got to dance again in this show. All the veteran actors did very solid work in their parts. And then there was Jeff Blumenkrantz. I think I laughed at all of his lines.


I think this will be a great show for a certain audience and even with its problems, I did enjoy it. It just feels a bit unnecessary. It needs more bite at least to give it a reason for being. Or, if not, sell it differently. Make it a bluegrass fairy tale or bring in some more religion so the predictability won't seem like so much of an issue. And for god's sake, don't have the

Updated On: 3/22/16 at 11:13 PM

I can't wait for the OBCR. Right after I saw the show I made a Spotify playlist of Bright Star music from Steve and Edie's albums. This has been tiding me over.







When You Get to Asheville, Sun's Gonna Shine





Always Will, Way Back in the Day, I Had A Vision, Another Round, My Baby



In the Love Has Come For You album review in AllMusic, Steve Leggett states:

Brickell's lyrics bring those gracefully easy melodies to life, stretching them into likewise graceful songs with a sparse, whimsical, and artfully open-aired narrative style.

This is one of the reasons why I like the music and lyrics. it's folk - bluegrass. It's easy and soothing. I will definely remember the songs.

Auggie27 said: "Anyone seen "Bright Star" and "Southern Comfort"? Just curious, because we have two bluegrass shows on the boards (briefly) at the same time. Not all that common.



There's also The Robber Bridegroom, albeit it's a revival.