City Center's 24-25 Season: Ragtime, Urinetown, LaChiusa's Wild Party, Love Life- Page 22

[Huss417]

Posted: 5/3/25 at 10:06am

Stagestrucklad2 said: "Jesse Green‘s review was, if anything, kind. I thoughtthe choreographywas not great, and this was the first “Conga” I’ve ever seen that was not a showstopper. Billy Porter’s THE LIFE still holds the record as Encores’ worst production, but I thought this WONDERFUL TOWNwas among the bottom five. And I’ve seen every Encores show."

Reading all this I'm glad I asked for a Refund for Sunday Night. One The Life is all I can handle. 

I am still not sure why this production was even done as the 2000 version was just a great time in the theatre. With so many shows to choose from still not sure why they wanted to revive this.

[ChiDoc]

Posted: 5/3/25 at 12:09pm

Well, this is a shame.  I have my $30 ticket for the final performance, and there’s part of me that still might go because I’ve never seen a show at Encores, but I might be abandoning this to pick up a ticket to Dead Outlaw instead.

[ErmengardeStopSniveling]

Posted: 5/3/25 at 12:39pm

Has the second mounting of an Encores show ever been better than the first? The three they’ve repeated are Fiorello, Call Me Madam, and now this. I didn’t see the original mounting of either show but the three repeats are not among Encores’ best efforts. 

[Huss417]

Posted: 5/3/25 at 12:52pm

I have yet to see where they improved on the original presentation.

There was also Pal Joey which was LuPone's return to the NY stage after Sunset. City Center then did it in 2023. Not Encores per se but most people thought it was.  The former was a perfect day in the theatre. The latter, not so much.

[Ke3]

Posted: 5/3/25 at 2:26pm

Huss417 said: "Stagestrucklad2 said: "Jesse Green‘s review was, if anything, kind. I thoughtthe choreographywas not great, and this was the first “Conga” I’ve ever seen that was not a showstopper. Billy Porter’s THE LIFE still holds the record as Encores’ worst production, but I thought this WONDERFUL TOWNwas among the bottom five. And I’ve seen every Encores show."

Reading all this I'm glad I asked for a Refund for Sunday Night. One The Life is all I can handle.

I am still not sure why this production was even done as the 2000 version was just a great time in the theatre. With so many shows to choose from still not sure why they wanted to revive this."

I mean they didn't want to. This was their replacement and being a replacement I'm sure their options on what to do were rather limited. 

Anika is not on stage enough (my dream Desiree in ALNM) but I guess I'm glad I missed this one. 

[InTheBathroom1]

Posted: 5/4/25 at 11:15pm

I guess count me in the minority here, but I really enjoyed this. I’d seen the musical about a decade ago in Chicago and fell in love with it, but the person I went with knew nothing of the show. We both walked out gushing about this. 

Renée Reid was on for Ruth this evening and she was simply sensational—charming, funny, and a stunning voice. And she was completely off-book. Aisha Jackson was equally stellar and they were perfect foils for one another. The dancing was quite good with the tap moments and lifts being especially impressive. The best part was hearing this luscious Leonard Bernstein score with the 28-piece orchestra is simply unbeatable.  The show is definitely not for everyone—it’s a little bit zany, off-kilter and episodic, but I find that to be the charm of the piece. I think it’s definitely worth a watch if you’re curious—maybe you’ll fall in love with  this gem like I did. 

[BorisTomashevsky]

Posted: 5/4/25 at 11:38pm

Was this director supposed to direct The Wild Party as well? 

[PipingHotPiccolo]

Posted: 5/4/25 at 11:39pm

i was there tonight too. and i will agree that Renee Reid did beautifully. We got an email saying Anika had a family emergency, and that Ms. Ried would be going on, which made me excited to see someone get such a scary opportunity, and she did not disappoint. A little creaky with some of the book, but totally confident and in wonderful voice. You'd think she and Aisha Jackson--also fantastic, the whole cast is-- are actual sisters. 

But we left at intermission. I dont know how else to put this: the show is horrible. Not this production, the actual show/story- what was surely witty/interesting 50 yrs ago is miserable now. Yes, that Ohio number sounded lovely, the opening number was solid and the Conga was fun, but this story is impossible to connect with, and the characters impossible to care about. (The curtain came down on Aisha Jackson being walked off in handcuffs, and someone loudly said "what the    " as the lights came up). Javier Munoz is reading a story about British people on safari while Aisha Jackson pretends to watch a lion maul someone, and you have to wonder if you're on LSD or if the actors are.

Im shocked that this worked in 2003, and sure maybe this production only exacerbates how unfunny and creepy the story is- but my god, I have never seen a show with one lead balloon missed joke after another. The first act was 90 minutes and it felt like many, many hours of horribly written jokes that either made no sense, or landed to awkwardly you had to wince. Seriously uncomfortable stuff. (Not to mention that the story turns on one sister being openly derided for being unattractive, while the other giggles her way through rampant sexual harassment? Lord help me.)

The mezzanine was empty- i mean, entire sections were empty. Audience reaction felt muted up there. Put all these talented actors--Aisha can sing anything, Etai Benson can sell any moment-- in almost any other show and I'd happily come back.

[Mark Waltz]

Posted: 5/5/25 at 10:35am

I agree that Rene Reid scored in this, and did much better than expected under the circumstances. She definitely has comic timing, and you can see why a nice looking woman has awkward moments with men ("95 Ways to Go" landed a big laugh where I was sitting), and feels she has to overcompensate in other areas since she's overshadowed by her flirty sister. But the direction of scenes that should have been funnier (particularly "Conversation Piece") fell flat. I'll never forget how Donna Murphy got a laugh for "It's about this whale" that was droll thanks to the pause before she says whale, which is what makes it funny, but nothing in that segment seemed to get any type of reaction. Granted, it's been one of my least favorite moments in the show, and possibly could be cut if it's ever done again, but that shows how important timing is.

 

"Swing!" came off the best of the big numbers, with "Christopher Street" second, but "Conga!" felt forced, although I felt Reid was trying to show Ruth's frustration. I liked the drawing of the map of the West Village in the background, which looked like it was drawn on a huge canvas, although I wonder now if that was actually some sort of enlarged slide or something like that. Glad I went because the long first act did seem to go by faster than I thought it would at nearly 90 minutes, and the second act (nearly half the time) was over before I could count all of the interesting people on Christopher Street. But it's sad to see City Center so sparse remembering how Encores used to practically fill up all three levels. I don't expect much from a musical comedy book written for 1953 audiences (although I'd rush to get a ticket to see "Me and Juliet" if they ever do that, the only Rodgers and Hammerstein show not touched in New York since the original outside of maybe Equity Library Theater, or "Hazel Flagg"), but this was one of Encore's biggest letdowns. 

I can't judge the other two Encores repeats I've seen since I didn't see the originals, but I did very much enjoy "Fiorello" and "Call Me Madam", since they were more traditionally staged productions rather than just concerts. Hoping for a good lineup for 2026 as I'd hate for this to be my last visit. 

Updated On: 5/5/25 at 10:35 AM

[Kad]

Posted: 5/5/25 at 10:41am

It is really a shame such a promising and exciting season landed with such a thud here. Encores desperately needs to find its footing again and become less focused on the brass ring of a Broadway transfer.

[kdogg36]

Posted: 5/5/25 at 11:25am

BorisTomashevsky said: "Was this director supposed to direct The Wild Party as well?"

I hope someone will correct me if I'm wrong, but I believe (without looking anything up) that The Wild Party was to be directed by Saheem Ali, who had a timing conflict due to Goddess at the Public.

[Dreamboy3]

Posted: 5/5/25 at 7:36pm

PipingHotPiccolo said: "i was there tonight too. and i will agree that Renee Reid did beautifully. We got an email saying Anika had a family emergency, and that Ms. Ried would be going on, which made me excited to see someone get such a scary opportunity, and she did not disappoint. A little creaky with some of the book, but totally confident and in wonderful voice. You'd think she and Aisha Jackson--also fantastic, the whole cast is-- are actual sisters.

But we left at intermission. I dont know how else to put this: the show is horrible. Not this production, the actual show/story- what was surely witty/interesting 50 yrs ago is miserable now. Yes, that Ohio number sounded lovely, the opening number was solidand the Conga was fun, but this story is impossible to connect with, and the characters impossible to care about. (The curtain came down on Aisha Jackson being walked off in handcuffs, and someone loudly said "what the " as the lights came up). Javier Munoz is reading a story about British people on safari while Aisha Jackson pretends to watch a lion maul someone, and you have to wonder if you're on LSD or if the actors are.

Im shocked that this worked in 2003, and sure maybe this production only exacerbates how unfunny and creepy the story is- but my god, I have never seen a show with one lead balloon missed joke after another. The first act was 90 minutes and it felt like many, many hours of horribly written jokes that either made no sense, or landed to awkwardly you had to wince. Seriously uncomfortable stuff. (Not to mention that the story turns on one sister being openly derided for being unattractive, while the other giggles her way through rampant sexual harassment? Lord help me.)

The mezzanine was empty- i mean, entire sections were empty. Audience reaction felt muted up there. Put all these talented actors--Aisha can sing anything, Etai Benson can sell any moment-- inalmost any other show and I'd happily come back."

While the show has flaws it is better than you give it credit for. The problems you cite are all on the director of this production. A really good production — which the Kathleen Marshall version was —  felt very sturdy and was funny and fun. Plus it had Donna Murphy giving a master class (and Jennifer Westdfelt — I didn’t see Laura Benanti — was terrific as well). 

[CoffeeBreak]

Posted: 5/5/25 at 7:46pm

Yep. The show can be a lot of fun when directed well.  That didn't happen with this version.  The house may be empty for the performances this week.

[BorisTomashevsky]

Posted: 5/5/25 at 8:27pm

Tuesday night seems well-sold (or well-papered) but the rest of the week is wide open. 

[PipingHotPiccolo]

Posted: 5/5/25 at 8:53pm

Possible Tuesday is fuller because many people swapped weekend Anika-free tickets for Tuesday instead?

Perfectly open to the idea that this show CAN be done the right w but last night was yikes

[pagereynolds]

Posted: 5/9/25 at 8:14am

We were there last night and this show (and maybe just this whole Encores season) was not for us. We didn't leave at intermission or anything.

Anika Noni Rose went up on a lyric in "One Hundred Easy Ways", and asked the conductor to go back, but it was actually pretty funny. Less funny, I thought was that she was clearly still using the script almost the entire time. Aisha Jackson was using her script as well, into the second act. I realize that there's a short rehearsal period, but this is the middle of the second week of performances.

I did think Javier Munoz was incredible, and well worth the evening.

Like I said, this whole season was pretty much a miss for me. Looking forward to new leadership next season.

[quizking101]

Posted: 5/9/25 at 9:20am

kdogg36 said: "BorisTomashevsky said: "Was this director supposed to direct The Wild Party as well?"

I hope someone will correct me if I'm wrong, but I believe (without looking anything up) thatThe Wild Partywas to bedirected bySaheem Ali, who had a timing conflict due toGoddessat the Public."

This is correct.

Zhailon was brought on board as a last minute replacement director and the choice (per my source at City Center) was actually between WONDERFUL TOWN and WOMEN ON THE VERGE OF A NERVOUS BREAKDOWN. However, there were logistical issues for the latter, and so NYCC went with the former. As I understand it, it was all very hastily arranged because of the fallout and so that is likely one contributing factor to its middling reception.

[Jordan Catalano]

Posted: 5/9/25 at 9:25am

Kind of fascinating how Encores has done multiple  productions in the past few years that could and should be studied as “ways to absolutely ruin a musical”. I just don’t know how you can make “Wonderful Town” SO BORING and so lifeless. And I say this as someone who ends his nightly prayers with “and please bring Anika back to the stage”. 

Updated On: 5/9/25 at 09:25 AM

[CukorLover]

Posted: 5/9/25 at 9:29am

The worst production I've seen in NY in recent memory. And I saw LEMPICKA.

[Kad]

Posted: 5/9/25 at 10:02am

Jordan Catalano said: "Kind of fascinating how Encores has done multipleproductions in the past few years that could and should be studied as “ways to absolutely ruin a musical”. I just don’t know how you can make “Wonderful Town” SO BORINGand so lifeless. And I say this as someone who ends his nightly prayers with “and pleasebring Anika back to the stage”."

 

Encores has just had a lot of mission drift in the last several years. I just don’t think their production model is conducive to either reimagining of material or presenting something that is always transfer-ready.

[Melissa25]

Posted: 5/9/25 at 4:53pm

Never thought that I would wish for dynamic pricing but this barn is just too big for me to really enjoy a show the way that I like unless I am sitting in the orchestra. You would think that with this not selling, that they’d lower the center orchestra seats but they are still at $185. This is another reason aside from quality production that I rarely bother with attending City Center anymore. The Saturday matinee tomorrow looks maybe 50% sold yet City Center, in their infinite wisdom, holds firm on NOT turning on the discount codes for center orchestra or Grand Tier seats. 

[Ke3]

Posted: 5/9/25 at 4:54pm

quizking101 said: "kdogg36 said: "BorisTomashevsky said: "Was this director supposed to direct The Wild Party as well?"

I hope someone will correct me if I'm wrong, but I believe (without looking anything up) thatThe Wild Partywas to bedirected bySaheem Ali, who had a timing conflict due toGoddessat the Public."

This is correct.

Zhailon was brought on board as a last minute replacement director and the choice (per my source at City Center)was actually between WONDERFUL TOWN and WOMEN ON THE VERGE OF A NERVOUS BREAKDOWN. However, there werelogistical issues for the latter, and so NYCC went with the former. As I understand it, it was all very hastily arranged because of the fallout and so that is likely one contributing factor to its middling reception."

This makes sense as a choice then tbh. A redo of a show they've already successfully done vs a last minute half ass of a "new" (for them) show which was certainly going to come with a lot more expectation as a certain generation of people have been waiting for a VERGE revival of some sort since the day it closed lol.

What doesn't make sense to me is Wonderful Town with a new director. I obviously want to see Black directors working but wouldn't it have made more sense to restage Kathleen Marshall's take given the limited time?

[Cape Twirl of Doom]

Posted: 5/9/25 at 11:15pm

Just saw this tonight and oof it was terrible. There’s no other way to put it. The jokes were just so flat and lifeless. The story was just so stupid and boring. I was almost nodding off several times during Act 1, which felt like it lasted forever. The balcony was so empty! Basically only the Access 28 tickets were sold on the far sides and some in the back, most of rows B, C and D were almost completely empty. I moved over to a great center seat with no one in front all the way down.

This possibly might be the worst Encores shows I’ve seen.

[quizking101]

Posted: 5/11/25 at 11:37am

Ke3 said:

“What doesn't make sense to me is Wonderful Town with a new director. I obviously want to see Black directors working but wouldn't it have made more sense to restage Kathleen Marshall's take given the limited time?"

So…restage an ENTIRE fully-realized Broadway production from 20 years ago in a matter of 2-3 weeks at best? Notwithstanding the fact that the elements of that production (set design, choreo, orchestrations) would cost additional money to use since it’s proprietary to the artist.

[QueenAlice]

Posted: 5/11/25 at 12:07pm

quizking101 said: "Ke3 said:

“What doesn't make sense to me is Wonderful Town with a new director. I obviously want to see Black directors working but wouldn't it have made more sense to restage Kathleen Marshall's take given the limited time?"

So…restage an ENTIRE fully-realized Broadway production from 20 years ago in a matter of 2-3 weeks at best? Notwithstanding the fact that the elements of that production (set design, choreo, orchestrations)would cost additional money to use since it’s proprietary to the artist."

Recreating the previous Encores production of "Wonderful Town" seems like it would have been a straightforward process. The original production was developed in just two weeks during the initial limited Encores rehearsal period and required only minor adjustments for its Broadway run.

The additional costs mentioned typically apply to situations involving union contracts. These contracts protect original directors and other creative personnel when a theater decides to revive a production without their original contributions. For instance, hypothetically (depending on her contract terms), Encores might need to compensate Kathleen Marshall if they chose to remount "Wonderful Town" without using her original direction and choreography. However, I suspect the Encores contracts are structured differently.

Given the circumstances, especially if this was a last-minute substitution, it might have been a better decision to support the original creative team behind the successful first production of *Wonderful Town" and just celebrate it as one of Encores' most acclaimed creations.

If they wanted to revisit something they did previously, why not do something that didn't quite land in the first production at Encores?