Wikipedia says they shoot in NYC, so I guess that isn't a concern. So that's good...
As to food and beverage: They don't even take drink orders at intermission. If you want a drink at intermission, you have to order it before the show. And your drink is at your table before the show begins. They forgot my straw and were concerned about getting it to my table before they had to be cleared off the floor, so they seem very up top of that aspect of things.
I'm considering bar rail seating along the side of the orchestra section (to the side of tables 113/114)... which the Roundabout box office says is directly underneath the 2nd level platforms of the stage (so you wouldn't see any action happening above you). Anyone notice how much of the staging takes place on those side platforms, and how much someone sitting at those bars might miss?
If you can see all of the second level above the proper stage, you'd be fine. Not much happens on those levels as far as scenes. Alan often observes the action onstage from different spots on the stairs, railings, etc., and at the end of the show, different characters appear in those places to just stand there with a spotlight on each briefly. So, if you're seeing all of the "frame" above the stage, you should be fine.
These seats were one table behind me, but it's too hard to tell whether their view would be greatly impacted, since that would put them... 10+ feet behind where I was.
They are already working around his schedule, considering The Good Wife starts shooting in July and always debuts at the end of September. If it extends, it will be without him. Perhaps Michael C. Hall will be available by then
Regarding the envelopes in the playbill, it might be obnoxious to people considering the ticket prices, but I just think it's a very clear sign they are hurting for funds. As a subscriber, I give them what I can but I always get the feeling it's never enough.
LAStevieG, I didn't notice those seats when I upgraded this morning. For that price, I probably wouldn't have chosen them. I went with the $82 last orchestra bar railing. My rep did not mention anything about not seeing the second level. So I'm hoping the only obstruction is the rail. Of course he also had me mail my old ticket to receive my new one and promised me an email confirmation which I haven't received. So who knows what I end up with?
I REALLY want to see this. I would MUCH rather see Cumming's understudy. As far as envelopes in the Playbills, I find that incredibly tacky and offensive. The seats for this are ridiculously pricey to begin with a ll things considered and the main problem anyone seems to have with this return engagement / revival is that it is a plain and clean and OBVIOUS money-grab on the part of the Roundabout. "Suggesting" a further donation at the performance is further proof of that. Certainly no offense to anyone here is intended, but I find it funny whenever we talk about distractions in an audience. Even the slightest flinch from anyone has people in arms. It is part of the communal experience. Being aware of your fellow theatergoers. If you want no distractions, watch a DVD alone. LOL. As far as servers go, were they to serve during the show, it would be perfectly in tune with the atmospheric staging of this production. To be honest, what bothers me most if that it is an exact duplication and hasn't really been re-examined or put thru a filter of 20 years of knowledge. From day one of the announcement, they seemed intent on doing it "by the numbers" which can all too easily become mechanical.
Cumming has been filming The Good Wife while rehearsals were going on for Cabaret. He would be available for shooting during the day, minus matinee days, and in the evenings on Sunday or Monday. If they want him to stay on the show, they would work around his schedule. I'm sure he'll be spent, but I would say that is a wonderful predicament for him to be in as an actor.
The Good Wife does film in NYC. I've seen those No Parking due to shooting signs for The Good Wife. So he could probably do both if he really wants to.
Broadwayguy2, I guess your comment about distractions was directed towards me. No I would not want to see waiters blocking my view of what I paid good money for. Of course, if you want to buy my ticket for me, then I will put up with all the distractions, that come my way. Pm me and I will give you my address to send the check.
ArtMan, You spurred the comment, yes. Was it a condemnation? No. It was comment on some of the often absolutely foolish things that people gripe about from other audience members. In regard to your comment about Cabaret, I stand bye what I said as a counterpoint to your position, no snark included… In an atmospheric staging such as this, had they chosen to use waiter service during the show, I have no doubt that they would be trained and instructed in how and when to serve to not interfere with the show and it would be erectly in tune with the way the staged. Could you take issue with it? Naturally. But it would be part of the show and akin to saying that the ensemble at the back of the stage or a set piece you found garish was drawing your eye. I am only making observation of that. :)
"Cliff is a very thankless role, despite ostensibly being the main character."
It is such an important part. It can easily be screwed up. Bill Heck has HUGE shoes to fill because John Benjamin Hickey is one of the great actors of his generation. He makes everything look easy because he is so brilliant.
Yes, it is an important and tricky role and therefore has a lot of impact when done poorly. On the flip side, it is one of the least "flashy" roles in the show and, when done well, gives the show an absolute cohesion but still fails to make the impact of the Emcee, Sally, etc. even the Kit Kat Boys and and Girls..
I feel like cutting Cliff's musical number (be it "Why Should I Wake Up?" or "Don't Go") blunted some of his impact in this revival. I mean, yeah, he's not the most interesting character in any version of the show, but in the 1966 and 1987 versions, at least he has a fighting chance at building a character, and I think a large part of the impact is because of that song.
"Why Should I Wake Up?" would be especially heartbreaking in this version -- as much as Berlin frees him to be his true self, he wants to enjoy life with Sally, to straighten up and fly right, and when she wants to leave, that song is his frantic insistence that she can't leave, or his carefully constructed life of "normal" fun and frolic will come crashing down around him. "Don't Go," while less effective because of the "von Schwarzenbaum" nonsense, has roughly the same purpose.
for anyone who has done so, how rough was the stage door for this?
"Grease," the fourth revival of the season, is the worst show in the history of theater and represents an unparalleled assault on Western civilization and its values. - Michael Reidel
It's strange that no actor has been nominated for a Tony for playing Cliff, I don't think it's a bad role, definitely not flashy but an interesting actor could do something with it. And I know it's a different part, but I thought Michael York was unfairly snubbed by the Oscars, he's great in that movie.
"Some people can thrive and bloom living life in a living room, that's perfect for some people of one hundred and five. But I at least gotta try, when I think of all the sights that I gotta see, all the places I gotta play, all the things that I gotta be at"
As of right now, I can't see Williams winning, when compared to the turns from Mueller or O'Hara.
And I never said Cliff was a bad or unimportant role. Just a thankless one. I'm not sure anyone has ever walked out of any production of Cabaret saying, "Cliff was the best part!"
"...everyone finally shut up, and the audience could enjoy the beginning of the Anatevka Pogram in peace."
I was told early on that the entire cast is contracted through November, for what it's worth.
Cumming said at the Times Talk event promoting CABARET that he only shoots about two days per episode on THE GOOD WIFE and it's almost always interior scenes, so it's been very easy to work around his filming schedule.
Tonya Pinkins: Then we had a "Lot's Wife" last June that was my personal favorite. I'm still trying to get them to let me sing it at some performance where we get to sing an excerpt that's gone.
Tony Kushner: You can sing it at my funeral.
Has anyone sat in the partial view seats at the back of the orchestra? Wondering how the view is.
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