nasty_khakis said: "I left at intermission. I was so utterly bored by it and so confused by what the tone was supposed to be. None of the music grabbed me, the staging seem basic, and they weren't even utilizing the major set piece of the stage on the stage. When that one guy turned into a stripper for no reason I made up my mind I was leaving during intermission.
I'm sorry you left at intermission. There are certainly worse things I've managed to sit through. I would say that the basic staging felt intentional to me. The simple choreography, the attractive but not necessarily expensive costumes... I think it was supposed to evoke community theater or children's theater in a way that was accessible enough to communicate the social justice and identity politics themes. Or maybe I'm being generous and reading too much into the 10+ up guidance.
I did think the stage on stage was a weird choice. I think there's a better way to negotiate the unreality. I brought this up earlier but I think it hurts the show to not know what's real. Magical realism, characters with overactive imaginations, that stuff works when it's grounded enough so there are still stakes. Did Bella conjure up that fantasy with Bonny Johnny to protect herself from the truth as Nathaniel suggests at first? If not and the Itty Bitty Gal and all that is true then why have those other fantasies of the passengers on the train? I could get more into it, but anyway I feel like they mostly used the stage for the fantasy (memories of her immediate family back home, how the cowboy enters through the window, the fantasy of the other cowboy, checking back in on her family later, memories of Tupelo) but there are also plenty of times when they don't use the stage. There's a lack of consistency to express what the vision is there.
I enjoyed the part that you call "When that one guy turned into a stripper for no reason". Aside from the obvious, I think there was some interesting work being done there. I interpreted it as something like Fan Tan Fannie in Flower Drum Song. In one sense the music and the persimmons and all that was exploiting the exoticism... which is also somewhat justified if Bella's just conjuring it up out of a few paragraphs in her travel guide. On the other hand, you're letting an Asian man, who in America is rarely considered the romantic lead or sexual ideal and you're letting him be the rock star... the Conrad Birdie, or whoever from Rock of Ages. I think, like with Bella, you are objectifying the body but you're doing it for an identity or a figure that generally isn't openly considered worthy of that attention. I do think it kind of comes out of nowhere like the other characters in Act 1. It would be stronger if we got a solid answer on what was happening. Like, Nathaniel establishes that Gussie May is there. But she gets off at another stop so it seems like Bella conjured up that whole backstory. But the lady with the baby might not be real at all? I appreciate what the writer was trying to do, addressing all these different marginalized groups but the connective tissue isn't really there. They took it out when I went back (but I think they're putting it back in) but the Buffalo Soldier song that Aloysius takes part in makes more sense because he's a character we know and he organically gives voice to his position.
As I said, I do think the threads come together more in Act 2 once we get past Bella's fantasies. Also, you missed some great numbers. The circus and the two big emotional punches.