Bridges of Madison County Previews — Page 4

I hated the movie, but damn if I can resist a JRB love duet. "Falling Into You" is gorgeous.

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Dottie, You should have told me you were in town! I think it's worth a trip back here to see. Kelli and Steven's performances have been on my mind all day.

Addy, I know you're a big Kelli fan and this is the performance that could push you over the edge (and break your heart).

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Whizzer, you'll be pleased to know that on the first night of previews, the start of the second act was delayed a bit because they couldn't quite get the state fair set right. There was a stage manager onstage with a headset, clipboard and tape measure with a completely flummoxed look on his face while three people stood around with fence rails in their hands. I completely and wholeheartedly agree that's a completely disposable piece of the show, but I was worried I wasn't a fair judge of that since I was already annoyed about the delay.

^

Yes, that seems to be the problem with so many of these much-lauded, melodically-challenged composers. The songs are all orchestrated shimmeringly, but the orchestrations can't disguise the fact that the melodic gift is simply not there.

Patash and After Eight: That's exactly what I meant by "beautiful but forgettable", BOMC reminded me of The Light in The Piazza in many ways. The orchestrations sounded beautiful (and perhaps being able to look into the pit and watch the orchestra made them especially so), the voices sounded beautiful but in the end, beauty isn't always memorable. Just like with people, it takes a lot more than beauty for a score to make a lasting impression.

Saw it last night and, without belaboring my personal opinion, I agree with Whizzer's assessment above completely. 80% of it was gorgeous (everything involving Francesca and Robert), 20% of it was grating (everything to do with peripheral characters). I'm actually (somewhat) fine with the peripheral characters themselves, but the broad pitch to which they've been directed ("Mama's Family" was more subtle) is simply jarring against the naturalistic tone of the central performances. Iowans might not be too happy with their clownish depiction here. Only once or twice was the moving of set pieces distracting (I'd wish for those large town storefronts to silently rise up from the stage), but all in all the production is beautiful. (No projections, as was previously mentioned, but rather a backdrop that changes tones and colors with scenes. I personally loved the suggested bridge, but I'm not a literalist.) Kelli O'Hara's vocals are glorious. BRIDGES is Francesca's story — from Italy to Iowa to Robert and beyond — and it resonates here as it should. Scores are a matter of taste. I look forward to deleting everything but Robert and Francesca's poignant solos and sweeping duets for repeat listening and creating for myself the small chamber piece that perhaps this should have always been.

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The bridge itself was a bit sparse and in no way reminded me of a bridge.

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Saw it last night. I liked it, actually more than I expected. I thought the music was 'nice' and moves the story along well. But there just aren't any showstoppers, and only one song in the second act that gets a strong audience reaction.

My issues with it were more technical. I was sitting in the 4th row, left orchestra (2nd seat in.) I was hyper aware of the amplification. The sound just belted from the speakers at the left side of the stage. Bud was mic'd too loud, and overshadowed the others on the stage. The orchestra also was overamplified, especially at the beginning, making it difficult to hear Kelli's opening number. I've sat in the front left orchestra for quite a few musicals, and have never been so aware of the sound.

For me, the set worked generally quite well. But I would agree with an earlier poster that it would be much better if those storefronts rose into the fly space rather than rolled on and off stage. The sound of the casters on those storefronts was very noticeable when they were being moved.

So you are allowed to speak negatively about a show (Once) but people aren't allowed to talk negatively about this? Sheesh.

People are going to talk about what they thought, period.

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Whizzer, I agree re: Derek Klena and Caitlin Kinnunen. At the first preview I found them to be incredibly over the top and when I went back on Monday, they had toned it down a bit, but definitely not enough. It was almost as if Klena was trying so hard to play a teenager that he overdid everything: stomping, pouting, etc. He looks young enough for the role, I don't really think he needs to try so hard. The audience should feel Francesca's struggle to choose between Robert and her kids, but in this case I just wanted to yell at her to leave them. (Horrible I know.)

I also agree that the "state fair" opener needs to be cut... It seems out of place and while the song is catchy, it is not necessary to the story at all. I think it pulls the audience out of the story completely.

BwayGeek, You know who the kids reminded me of? A lesser developed, more annoying version of Jordy or Lil Luz from Giant. He was unhappy with life on the farm and was most likely not going to follow in his father's footsteps, plus his mother was protective of him. She was kind of a tomboy and rough around the edges. I'm glad the kids weren't sickening sweet in order to manipulate the audience, but honestly they could have been cut from the show and still fulfilled their purpose.

Besty, I really hope you give the full score a chance sometime because I found the lyric writing to be VERY strong in the theater. Have you heard the opening number? Really great stuff. The love duets might be simplistic at times, but it worked in the theater because it felt so naturalistic and honest.

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We got to see this on Friday and I was so pleased before the show even started because our TDF seats were perfect in row G of Orchestra. We really lucked out to get such great seats. Also, it was extra special to see Betty Buckley who was sitting two rows ahead of us.

I enjoyed the show and loved the performances by Kelly O'Hara, Steven Pasquale, Cass Morgan, Michael X. Morgan and Whitney Bashor. I agree with previous posters about Bud and the kids. When they were on, I wanted them off. I' m not really sure why the kids were depicted as so obnoxious and angry. (I couldn't help but notice Klena's neck veins on the verge of combustion). This depiction of them really takes away from the mood of the piece. Personally, I feel that Marsha Norman and JRB missed out on excellent dramatic opportunities to portray the children as adults after they find Francesca's journals and letters.

I loved the lighting but really found the staging very distracting. Too many people and moving pieces. Initially disappointed by the rendering of the bridge but O'Hara and Pasquale are so good, that you easily forget the "covered bridge" is missing its cover. The busyness of the staging distracted me so much that I don't remember Whitney Bashor's performance in "He Forgave Me." After the show, I commented that I thought she was supposed to have two numbers, checked the playbill and ... Yep must've been distracted. Missed it.

Pasquale brought me to tears with "It All Fades Away." I loved that there was a lot of guitar playing in this score. I can't wait to listen to the OBCR and see it again later in its run.

Updated On: 1/26/14 at 04:07 AM

As you all know, I was sorely disappointed by the first preview, mainly for fundamental issues in the libretto.

Well, this is one smart creative team because they are really using their preview period. I went back yesterday and loved it. The last half an hour has been so re-shaped since last week that it changes the show's arc. While I still miss having the children discover the affair, the show works now. I hope they keep tightening.

JRB conducted the matinee yesterday, which was thrilling. Getting to watch him was a joy.

Kelli is astonishing. It'll be a tight race between her and Jessie.

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