DEAD OUTLAW Previews — Page 4

getatme said: "I was at first preview of this show after hearing so much about it over the past few months and found that I liked it quite a bit, but I didn't love it. Perhaps I let the hype get to me, perhaps it just doesn't fill the Longacre, perhaps it was a little bit of the cast re-finding their footing. I found it to be overall good, but not something I'm raving about the next day.

I liked the score a lot, one of my favorite Yazbeck works, tuneful, catchy, entertaining, and, as always, stylistically specific and clear. Loved the way band members were given the opportunities to sing and join the story at times.

The book is strong, with a bit of an over-reliance on narration that I think is a leftover if this piece starting as a show for Audible. Wish there was a little more showing and a little less telling at times, but that was a minor quibble.

Performances are uniformly strong across the board. Andrew Durand's early scened are energetic and he has such an exciting and odd presence. His physical work for the whole show is very impressive. I also found Jeb Brown to be a phenomenal storyteller leading us through this odd tale and stepping in at various times.

Direction is solid but not overall thrilling. Wish the bandstand moved all the way upstage to widen the playing space or even had multiple sides to become different locations, just something to utilize the stage space a little better. Lighting was very impressive. Sound was a little muddy at times, but that seems to be par for the course at a first preview these days.

It's certainly an odd story, one of those stranger than fiction things, and I think I expected it to be either a little crazier/funnier OR to be a little darker and more intense. It sits in the middle ground, there are some good laughs, there are some darker moments, but I think it could benefit from committing fully to one side or the other.

I do think, though, it gets a little bogged down at times trying to tell youeverythingthis body was put on display for. The one of that stuck out the most to me as being only tangentially related was the runner/Route 66 race. I get it, the body was put on display alongside the race in each city, but considering they don't know for sure that this runner and the body every interacted in any way, it felt like a side quest with very little reward or connection to the overall story, and I think the time could be better served by giving us a song FOR the body about how he feels being put on display around the country or something. I kept waiting for a ghost song that never came.

Overall, solid witha nice, mature first preview audience that didn't scream or cheer for every moment, but I was left feeling a little wanting by the end."

I felt exactly the same way about the narration. I thought it was a really good show overall, but my main critique mirrors yours - especially in the beginning, they relied too heavily on telling rather than showing. I also didn't understand the purpose of the Andy Payne character and song in terms of plot development. This subplot seemed disconnected from the main story and didn't add substantial value to the narrative.

People are also forgetting that sometimes Tony’s have alot to do with what will sell on the road.

Updated On: 4/13/25 at 10:39 PM

Kad said: "Also: why are we talking about what's winning Best Musical in a thread about a production that's had two performances?"

I made one mention of MHE and was attacked and reprimanded, that’s how we got here. Everyone go see DO. It’s more than worth seeing and could win best score.

Who says they didn’t? They toured. Not all successfully. Toured but didn’t sell. Go enjoy D O.

Updated On: 4/14/25 at 12:52 AM

MB124 said: "Ensemble1698878795 said: "Kad said: "Also: why are we talking about what's winning Best Musical in a thread about a production that's had two performances?"

I made one mention of MHE and was attacked and reprimanded, that’s how we got here. Everyone go see DO.It’s more than worth seeing and could win best score."

Attacked and reprimanded?! LOL, please."

And these kinda snarky comments are when these boards lean into bullying territory. Yes, reprimanded. Being told to stay “on topic” is exactly that. Glad it’s funny to you.

Dan6 said: What would you say as between Row C Orch center and Row A Mezz center? Don't want to be craning neck upward or be blocked by tall people, but also want to be close for what I understand is (or was) a pretty intimate staging. Hoping to make the right choice, I'm really looking forward to this one!"

Hi Dan, this seat was perfect for me since I love being really close to the action. I feel far away from things in the mezz in this theater, so that's why I chose that seat. This was a weird, quirky show in the best way. I loved the lighting, set, and the music is absolutely gorgeous. Andrew Durand will absolutely get nominated for his performance, he is incredibly talented. The band is incredible and it was awesome watching them so close. I wish they had gone darker in terms of story but I didn't mind the reliance on narration as a few people have mentioned here. Seats were fine for me but a few comments at the end about how cramped they were. Loved the bandana on the seats and I got a magnet. Solid and will only improve through previews. See it!

Updated On: 4/14/25 at 12:34 PM

Just came from the second preview, and really enjoyed it! I do have to echo other comments that I think so much of the raving from off-Broadway set my expectations too high, but there was a lot to love here, especially the score. I’m annoyed that we’ll have to inevitably wait for a while for a cast recording, because I can’t wait to hear so much of this again. David Yazbek is arguably my favorite Bway composer and this was gem after gem. And Andrew Durand was perfection both alive and dead - I have no idea how he stays so still!

For those who care: (based on reading the first preview comments) there was a banner that unfurled I presume right on cue, so that was fixed, and there was no cement mixer at all at the end. I wasn’t sure whether that was supposed to be there and the actual cement didn’t work the first night, or we aren't supposed to see a machine anyway, but there was just narration about cement and no hint of a prop or effect. A couple of slightly muddy mics but otherwise I thought the sound was great.

I’m really interested to see who this attracts audience-wise. I was there with my 80-year-old parents who are in town, who see a lot of shows and have relatively diverse and open-minded taste (we previously saw Dorian Gray and Operation Mincemeat on this trip, and Death Becomes Her, Gypsy, and Maybe Happy Ending on a previous visit and they loved all five, fwiw), and when the house lights came up at the end they looked at me like I was nuts for bringing them to this weird, weird show haha. Though my mom did really enjoy a lot of the music and thought Andrew Durand was so funny (they both recognized him from Shucked which they had LOVED). It’s so indie and offbeat - I totally understand why it was so well-received with a downtown crowd in the small Minetta Lane, but I think it will be a harder sell here. There were two senior men in front of me who literally put their hands over their ears during the louder rock songs.

Net net I'm personally thrilled I saw it. I think there’s so much to love about this, and I think I’ll love it more the more I think about it and remember certain moments - all of the supporting cast are great in their roles, and the band is killer. Though I need to think about who I’ll recommend it to, because it’s not for everyone.

Ensemble1698878795 said: "Kad said: "Also: why are we talking about what's winning Best Musical in a thread about a production that's had two performances?"

I made one mention of MHE and was attacked and reprimanded, that’s how we got here. Everyone go see DO.It’s more than worth seeing and could win best score."

I'm sorry you felt attacked and reprimanded. I was just making a comment on how this here Broadway posting board devolves almost every other year. Especially when a show has moved uptown after winning every non-Tony award previously. Is it happening again? Well, many a Broadway show has used narration and have won the Tony. Many a smaller off-Broadway show has moved to Broadway and successfully filled the space. .......

If the marvelous Dead Outlaw has a problem up against the endearing Maybe Happy Ending it is that DO isn't a traditional musical. It's a thematic revue which doesn't grab the heart in the same way as a traditional story-bound musical. Not that they can't be brilliant, Hair, Company, Assassins--all are thematic revues. And we haven't even had the last completely unknown quantity musical open yet so Kad is correct...but it already feels like May...

Owen22 said: "Ensemble1698878795 said: "Kad said: "Also: why are we talking about what's winning Best Musical in a thread about a production that's had two performances?"

I made one mention of MHE and was attacked and reprimanded, that’s how we got here. Everyone go see DO.It’s more than worth seeing and could win best score."

I'm sorry you felt attacked and reprimanded. I was just making a comment on how this here Broadway posting board devolves almost every other year. Especially when a show has moved uptown after winning every non-Tony award previously. Is it happening again? Well, many a Broadway show has used narration and have won the Tony. Many a smaller off-Broadway show has moved to Broadway and successfully filled the space. .......

If the marvelous Dead Outlaw has a problem up against the endearing Maybe Happy Ending it is that DO isn't a traditional musical. It's a thematic revue which doesn't grab the heart in the same way as a traditional story-bound musical. Not that they can't be brilliant, Hair, Company, Assassins--all are thematic revues. And we haven't even had the last completely unknown quantity musical open yet so Kad is correct...but it already feels like May..."

Thanks for this. I saw the final dress of DO and I saw it downtown. I like the musical, but friends who have gone this week say it doesn't emotionally reach them in the way MHE will. I hope they all survive. I think producers get excited about reviews and don't think about scope and size of story.

Updated On: 4/15/25 at 12:28 PM

brodynky said: "

I sat in Row BSaturday night, and there were two rows filled with people in front of us.But I understand your confusion since when I bought my tickets on TelechargeI thoughtthat might be the front row, as I didn’t see any dates with tickets available in the first two row rows ahead of row B. Perhaps they are using them for lottery and/orRush seating?"

THANKS MUCH!!!! I see row B & C available for a few dates i wanted, with a lower price than row D and back, and wondered if there were seats in front of those, or if they had a 'Thrust' stage similar to Swept Away.


Was row B too close, or were you able to see the entire stage, especially the band and the back of the stage?

Updated On: 4/15/25 at 03:15 PM

brodynky said: "I sat in Row BSaturday night, and there were two rows filled with people in front of us.But I understand your confusion since when I bought my tickets on TelechargeI thoughtthat might be the front row, as I didn’t see any dates with tickets available in the first two row rows ahead of row B. Perhaps they are using them for lottery and/orRush seating?"

When I got tickets at the box office last month, I asked for front row, and they said row B (third row) was the first row they were selling and that they might not be using the first two rows. Disappointed that it sounds like I'll have two rows of heads in front of me.

PipingHotPiccolo said: "i was there tonight. i LOVED this downtown so I was invariably somewhat disappointed on second viewing- theres no question this worked better in that tiny space. lots of empty space on stage and just felt like a small show in a big space, rather than filling it. i'd bet it feels more intimate downstairs, I was front mezzanine, great views but it felt pretty far back from the stage for me. (yes the far left seats seem to miss some of the scenes towards the very top of the show, but nothing drastic).


the cast remains strong, though i found Durand a bit less.... animated tonight. and by that i mean the first half, he is perfectly not animated in the second (and his performance in the second half remains wildly impressive). i found him less "in on the joke" tonight, and his voice wasnt as strong as i know ive heard it before. i also found Jeb Brown a bit harder to understand this time around--does anyone know why he says Beyonce is dead? Most everyone else he sings about IS dead or we might want to be dead (Jeff Bezos...) but then he says Beyconce and the audience has to be like huh?

these are quibbles though. the rest of the cast has only grown into their roles. Especially Knitel and Trent Saunders- who i would LOVE to see play Elmer with that voice. And the show itself is a treasure. i love how unsentimental it is, i love how wry and direct and "heres a wacky story, death is coming, lets go home" it is with all these beautiful treasures along the way. so many songs are bangers, so many moments earn a real laugh. and its just such an original musical: a very american score, a true american tale of how backward this country's entrepreneurial spirit can be, a winding story that remains surprising and engaging even on second viewing. yazbeck, moses and cromer. talk about a team.

the cast of Mincemeat was sitting together dead center orchestra. seemed to enjoy it but i have to say--and i liked mincemeat alot--i had this interesting reaction to seeing them all together. First i thought "theyre here telling this story of British ingenuity to save the world from fascism, and THIS american story is about drunk bank robbers who are exploited by loony creepts for 60 years." But then my second thought was a rare flash of American pride--a feeling i have not had in quite some time--in the sense that as great as Mincemeat is, this score/show/package is just as impressive, and i felt a flash of joy in them sitting down to see OUR version of musical comedy ingenuity, a flash of pride for being as American as David Yazbeck and Itamar Moses. Then I turned on my phone and saw some NYT headlines and it evaporated damn fast, but still, a nice odd (admittedly irrational) moment."

Is there more to the set than the pre show shows?