Posted: 4/16/19 at 10:53pm
Posted: 4/16/19 at 10:58pm
Kad said: "There’s also Jeff Daniels, giving a very praised performance in the hit play of the season."
I've had Daniels in my #1 slot because he's overdue for a Tony, it's a way to honor TKAMB, and Cranston gave a similarly "big" performance a few years ago. But everyone tells me I'm crazy when I say Daniels will win! So maybe it's a 3-way tie between the three?
Posted: 4/16/19 at 11:05pm
those two are sexy as Broadway will get this season for me. Can't wait.
Posted: 4/16/19 at 11:23pm
Posted: 4/16/19 at 11:50pm
everythingtaboo said: "The only reason I can think of for doing the red carpet tonight is that it's a typical dark night on Broadway so maybe more theatre folk can attend?"
i dont think its a question as to why they did a Monday night opening, its just bizarre that they would have the reviews come out the night after> makes absolutely no sense to me.
Posted: 4/17/19 at 12:58am
I think it's safe to say based on these reviews that Burn This will NOT be your winner of Best Revival at the Tonys this year.
Posted: 4/17/19 at 3:08am
Posted: 4/17/19 at 3:53am
After noting in the previews thread that Larry, likely a revolutionary character when originally written, now just feels like the typical romcom gay sidekick, I appreciated this line in Brantley's review:
"When she deftly swaps chummy barbs with Mr. Uranowitz — who ably fills the now shopworn role of the sardonic but ultimately wise and caring gay confidant — “Burn This” can feel like a dry run for the long-lived TV series “Will and Grace.”"
Yup.
However, as someone who had mixed feelings about Russell's performance, I did appreciate this part of Sara Holdren's review at Vulture (which I don't think has been posted yet):
"Like the recent revival of True West in which Paul Dano receded in the face of Ethan Hawke’s marvelous, roiling rambunctiousness, Mayer’s production puts its focus on the bigger character to the detriment of the more difficult one. Anna is a hard part. It requires an actor who can play aloof on the surface while letting us glimpse subcutaneous strata of passion, confusion, and pain. Pale gets to burn on the outside, while Anna’s fire has to be masked and internal, and while Russell holds her own, we don’t see her heart."
I agree that it's the more challenging role in a lot of ways, and if she can't quite pull it off, that's as much about the character as written as it is the performer. (Though Joan Allen won a Tony for it, the NYT review of the original production said even she wasn't entirely able to pull off the character's emotional shifts.)
Updated On: 4/17/19 at 03:53 AM
Posted: 4/17/19 at 10:07am
bwayboy22 said: "I was there tonight and it was definitely opening night. So is the only difference reviews come out tomorrow? This is very confusing and I'm not sure I understand the reasoning behind it."
Other shows have done this before, too. The reasoning behind it is usually so the cast/creative team can enjoy the party and opening celebration without fussing over reviews. It's not exactly common, but it doesn't mean anything.
Posted: 4/17/19 at 11:01am
Posted: 4/17/19 at 12:22pm
MemorableUserName said: "After noting in the previews thread that Larry, likely a revolutionary character when originally written, now just feels like the typical romcom gay sidekick, I appreciated this line in Brantley's review:
"When she deftly swaps chummy barbs with Mr. Uranowitz — who ably fills the now shopworn role of the sardonic but ultimately wise and caring gay confidant — “Burn This” can feel like a dry run for the long-lived TV series “Will and Grace.”"
Yup.
However, as someone who had mixed feelings about Russell's performance, I did appreciate this part of Sara Holdren's review at Vulture (which I don't think has been posted yet):
"Like the recent revival of True West in which Paul Dano receded in the face of Ethan Hawke’s marvelous, roiling rambunctiousness, Mayer’s production puts its focus on the bigger character to the detriment of the more difficult one. Anna is a hard part. It requires an actor who can play aloof on the surface while letting us glimpse subcutaneous strata of passion, confusion, and pain. Pale gets to burn on the outside, while Anna’s fire has to be masked and internal, and while Russell holds her own, we don’t see her heart."
I agree that it's the more challenging role in a lot of ways, and if she can't quite pull it off, that's as much about the character as written as it is the performer. (Though Joan Allen won a Tony for it, the NYT review of the original production said even she wasn't entirely able to pull off the character's emotional shifts.)"
Of the three I've seen, Katherine Keener was the most realistic, balanced and heartbreaking Anna.
Posted: 4/17/19 at 11:45pm
I saw this tonight on a whim. Sat in the front balcony (for cheap) and I actually felt close but also high up? Meaning i wasn't far away but the angle is very "looking at the top of their heads" I'd imagine the front of the Dress Circle is perfect (and maybe preferable to the orchestra)
Best way to share my thoughts is to divide up my thoughts at Intermission and then again at conclusion. At intermission, i thought (1) this play is so much better than i realized and the reviews didnt give the actual work nearly enough credit, (2) Keri Russell is stiff as ever but its kinda working, and (3) Adam Driver is a force of nature, there is no way anyone else could play this role, I feel privileged to be able to witness this, and seriously when is he going to play Streetcar on Broadway because that role, maybe more than this, was legit written for him.
After the show ended, #3 remains intact. Driver is fantastic and lights up the stage in a way that you just don't see all that often. It reminded me a bit of Laurie Metcalf in A Dolls House, where she just rolls in and turns the stage on its head. And I think Russell did better than she was given credit for in the NYT at least- I believed her character to be guarded and stiff and it made some sense. The problem was the play- funny throughout and well written, EITHER the play just doesnt pack any punch because who really cares what happens with these people, OR this production cant get off the ground because Driver is so good it moves the axis of the play?
I did not believe that Russell's character fell for him, because Driver was too wild and out of control to be likeable. And I sorta believe that she might fall into bed with him, this play doesnt work unless these two are pulled towards each other in a totally organic, kinetic way. And i didnt feel that here either because the play writes two characters who dont make sense OR because Driver's Pale flies off the stage and Russell's lingers. Either way, after all the humor and fireworks, it ended with a sad whimper.
Driver is a sure thing for Best Actor nom, but with what he is doing, he could win. I think I've seen almost all the main contenders, and the only other one who really blew me away was Jeff Daniels- and while i liked that overall performance more (it felt more complete) Driver here grabs the audience by the throat and emotes in a way very few other actors can. I also hope Uranowitz gets recognized- he was more than funny, he was warm, and some of his quiet reactions were devastating (even from the balcony).
Posted: 4/21/19 at 1:15am
I caught this production again on a last-minute whim tonight with a friend and I'm happy to report it has greatly improved all around!
I enjoyed it the first time around, but this time it felt more tight (even though it seemed to run a little longer...). Russell's performance has certainly improved since early previews and I wonder what the critics would say if they saw her tonight. She was more engaging and I did feel a connection between her and Driver, especially when she asks her roommate, "Did he really leave?". Driver, Furr, and Uranowitz are still giving fantastic performances and the lighting is still as beautiful as I recalled. I would highly recommend this production. (Also, shout out to the Hudson for the awesome leg room and enforcement of no late seating. Not once did someone leave their seat and return during the show. A great experience.)
Posted: 4/23/19 at 12:22pm
Very positive review.
http://www.newnownext.com/michael-musto-broadway-reviews/04/2019/
Posted: 5/6/19 at 11:53am
Posted: 5/6/19 at 12:34pm
Posted: 5/8/19 at 10:45am
I saw the show last night and for all the talk of it being this classic, and then based on the intensely sexual promotion of this production, I was in shock that it was a funny but not great play, that the characters in general simply are not very deep, and there's certainly no real catharses going on.
So it's really up to the actors to imbue layers into these characters, which Driver and Uranowitz do impeccably well. Driver is just a maelstrom of humor, insecurity, and physicality. Uranowitz is hilarious but he gives the role so much nurturing and caring. Furr is very good as well, though it weird that he and Uranowitz seemed to have the hottest chemistry of the night during their scene. As for Russell, she was...fine? I guess? I was surprised that she's done theatre before because her stage voice is strangely flat, and loud. There was good physicality there, and really that's the only point where she and Driver were a match, but whenever she had more than one line to deliver, it felt like she was giving so much energy to projecting, she forgot to put emotion into it.
All that said, I'm glad I saw it. The guys were great, it moved fast, and it was much funnier than I was expecting. Plus the lights, costumes, and sets were fantastic. And the 80s pre-show music made me happy I came in early. Also, any excuse to go the Hudson Theatre, which is just so gorgeous.
Posted: 7/3/19 at 6:58pm
I'm thinking about seeing the show this weekend but have a transportation issue. Would an 8pm performance be finished by 10:35 or 10:40? The show is listed as 2 hours and 30 minutes, but that can be off. Thanks in advance!
Posted: 7/4/19 at 6:51pm
I saw this last weekend and really enjoyed it. I've always liked the play, which I saw at the Huntington in Boston a few years back, and I thought this production was better. Uranowitz was great and I thought Adam Driver was riveting; so much power and thoughtfulness to his performance. Russell to me was bland and lackluster, for the most part, but that was my only serious issue with this. I much preferred this to 'The Boys in the Band', which hasn't aged well amd surprised me with it's Tony win. Now that I've seen this, I'm even more surprised.
