#26
Posted: 3/17/13 at 7:25am
nsguy45 - just curious, what was the difference in show between Seattle and Broadway ?
Catch Me if You Can ; LA tour — Page 2
#27
Posted: 3/17/13 at 9:54am
The funny thing is, this tour - at least in terms of production design - is closer to the Seattle production than the Broadway one.
#28
Posted: 3/17/13 at 11:46am
We got to see Aaron Tveit in a swimsuit in Seattle :)
#29
Posted: 3/17/13 at 12:01pm
We saw him in a swimsuit on Broadway too. But sadly, even that couldn't help his one dimensional characterization. Or the crappy score, design, and direction.
#30
Posted: 3/17/13 at 12:19pm
I saw the tour in Houston and found it to be fun and charming. I did not see it on Broadway. I have also never seen the movie. So, I can't compare it to anything else...
Check out my review...
BWW Reviews: CATCH ME IF YOU CAN - A Guaranteed Good Time
Check out my review...
BWW Reviews: CATCH ME IF YOU CAN - A Guaranteed Good Time
Updated On: 3/17/13 at 12:19 PM
#31
Posted: 3/17/13 at 12:22pm
I also did an interview with Merritt David Janes (Carl Hanratty).
BWW Interviews: Merritt David Janes Talks His Career, Playing Carl Hanratty, Touring, CATCH ME IF YOU CAN
BWW Interviews: Merritt David Janes Talks His Career, Playing Carl Hanratty, Touring, CATCH ME IF YOU CAN
#32
Posted: 3/17/13 at 12:49pm
"I also saw the show in both Seattle and Broadway and agree that it was better out of town. The set and costumes actually felt cheaper to me on Broadway."
Bob Mackie did the costumes in Seattle. It's a bummer that his partner was dying and he couldn't continue on with the show.
Bob Mackie did the costumes in Seattle. It's a bummer that his partner was dying and he couldn't continue on with the show.
"TheatreDiva90016 - another good reason to frequent these boards less."<<>>
“I hesitate to give this line of discussion the validation it so desperately craves by perpetuating it, but the light from logic is getting further and further away with your every successive post.” <<>>
-whatever2
#33
Posted: 3/17/13 at 1:27pm
If the Seattle production, as it was, had opened on Broadway, the show would have received more critical praise and enjoyed a longer run.
Norbert's role was definitely beefed up for Broadway . . . he was almost a featured performer in the Seattle production.
Aaron's performance was superb in the Seattle production . . . but the changes made between Seattle and Broadway affected his role, his performance and his chances for a Tony nomination.
Norbert's role was definitely beefed up for Broadway . . . he was almost a featured performer in the Seattle production.
Aaron's performance was superb in the Seattle production . . . but the changes made between Seattle and Broadway affected his role, his performance and his chances for a Tony nomination.
#34
Posted: 3/17/13 at 2:44pm
Sorry - this is a bit of a thread-jack but Jack Hughes writes:
"Anything Goes" was the worst thing I ever saw in my life. I don't know who the hell wrote the music for that piece of trash but I agree: offensive mindless crap.
I'll give you mindless..it is after all a 1930's farce. But the score contains "I get a Kick Out of You", "All Through the Night", "You're the Top", "Blow, Gabriel Blow" and "Anything Goes" - 5 songs out of the original 12 that became popular standards. Plus the revised revival adds a few other Porter gems: "It's Delovely", "Friendship" and "Easy to Love" making it a veritable Porter smorgasbord.
But you raise an interesting question for me..do those of us who like ANYTHING GOES give it pass because it was written in 1934 as a vehicle for Ethel Merman and features (next to KISS ME, KATE) one of Cole Porter's best scores? Do we let history override its flaws? This was, after all one of the biggest hits of the 1930's, and one of the few shows of that era to be still revived regularly.
I doubt if CATCH ME IF YOU CAN will still be revived in 70 years.
And that brings us back to the topic at hand.
"Anything Goes" was the worst thing I ever saw in my life. I don't know who the hell wrote the music for that piece of trash but I agree: offensive mindless crap.
I'll give you mindless..it is after all a 1930's farce. But the score contains "I get a Kick Out of You", "All Through the Night", "You're the Top", "Blow, Gabriel Blow" and "Anything Goes" - 5 songs out of the original 12 that became popular standards. Plus the revised revival adds a few other Porter gems: "It's Delovely", "Friendship" and "Easy to Love" making it a veritable Porter smorgasbord.
But you raise an interesting question for me..do those of us who like ANYTHING GOES give it pass because it was written in 1934 as a vehicle for Ethel Merman and features (next to KISS ME, KATE) one of Cole Porter's best scores? Do we let history override its flaws? This was, after all one of the biggest hits of the 1930's, and one of the few shows of that era to be still revived regularly.
I doubt if CATCH ME IF YOU CAN will still be revived in 70 years.
And that brings us back to the topic at hand.
Cast albums are NOT "soundtracks."
Live theatre does not use a "soundtrack." If it did, it wouldn't be live theatre!
I host a weekly one-hour radio program featuring cast album selections as well as songs by cabaret, jazz and theatre artists. The program, FRONT ROW CENTRE is heard Sundays 9 to 10 am and also Saturdays from 8 to 9 am (eastern times) on www.proudfm.com
#35
Posted: 3/17/13 at 7:09pm
I doubt if CATCH ME IF YOU CAN will still be revived in 70 years.
Even enjoying the current tour, this is a sentiment I can agree with. However, for a sweet as bubblegum show, it is fun. I felt the show portrayed itself as a fun night out at the theatre and delivered that promise to me. I'm not sure this show takes itself as a serious hit that will have long runs and enjoy numerous revivals. I don't think it takes itself that seriously at all.
Even enjoying the current tour, this is a sentiment I can agree with. However, for a sweet as bubblegum show, it is fun. I felt the show portrayed itself as a fun night out at the theatre and delivered that promise to me. I'm not sure this show takes itself as a serious hit that will have long runs and enjoy numerous revivals. I don't think it takes itself that seriously at all.
#36
Posted: 5/1/13 at 9:37pm
I have got to say I don't think the cast in this tour is anywhere nearly as talented as the original Broadway cast -- don't get me wrong, I did find Stephen to be of great potential for his age and he did a good job the night I saw him. But comparing to Tveit? Or to lead a show of this size? He still has got a long way to go. He probably has the most awkward movements on stage among all the leading men that I have ever seen. He suffers pitch problems every now and then. He did good for a kid fresh out of college, but a leading man he is not, And Frank Abagnale Jr.? Impossible. Power and charisma is nowhere to be seen. He came off as such an awkward high schooler doing a school production --- which makes the already badly-told story even less convincing. Really? A con-man who successfully passed himself as different identities and forged millions of fake checks and escaped from multiple FBI hunt-down?
Neither Agent Hanratty of Frank Sr. is near as good as the Broadway cast. The ensemble is not at the same level either. But it's a non-eq tour, so what can you say.
What I think of the musical is not a good one, yet it can still be entertaining if the cast is good --- especially the leading men (con-man and FBI), and especially especially the con-man. If they can't find two guys with enough charisma to hold this show, it sure is a flop and will be hard to sit through.
Neither Agent Hanratty of Frank Sr. is near as good as the Broadway cast. The ensemble is not at the same level either. But it's a non-eq tour, so what can you say.
What I think of the musical is not a good one, yet it can still be entertaining if the cast is good --- especially the leading men (con-man and FBI), and especially especially the con-man. If they can't find two guys with enough charisma to hold this show, it sure is a flop and will be hard to sit through.
#37
Posted: 5/2/13 at 1:22am
I saw this in Chicago and agree w/ those that were disappointed. Aside from the lead's awkward movements, he also came across as a child - where as DiCaprio (and maybe Tveit - didn't see Bway) could portray a whole range of ages. The score was forgettable - I was waiting for Fly Fly Away and it was not worth the wait.
"Observe how bravely I conceal this dreadful dreadful shame I feel."
#38
Posted: 5/2/13 at 2:10am
is this a show you think that community theaters and regional theaters could do a great job putting on? as well as putting it on regularly?
#39
Posted: 5/6/13 at 6:02pm
I think it's be relatively easy for community theaters to do. I don't know if they'll do it regularly because it may not boil the pot as much as others would.
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