Posted: 9/7/15 at 5:46pm
I'm confused as to why people are calling this "new and riveting". It's been done before right? Big River was the same and first concept of its kind am I right? Or am I missing something?
Posted: 9/7/15 at 5:48pm
Are they on a lottery or rush system for this one?
Posted: 9/7/15 at 6:42pm
I Was on the fence about whether to see this because I'll be there in winter when so many new shows will be open, but they have Sunday night shows so I'm in. I only saw SA on tour and it was OK--I didn't hate it but I didn't love it--but I think at the time I had only really experienced really standard musicals so maybe I was a little too closed off. My tastes have expanded and I think I'd appreciate it more now. I do like the score. With everything I'm reading about how incredible this is I'm starting to get excited about it.
Updated On: 9/7/15 at 06:42 PM
Posted: 9/7/15 at 7:16pm
If someone goes to the stage door, can you let me know if Marlee Matlin comes out?
Posted: 9/7/15 at 7:16pm
I know she signs! *rimshot*
Posted: 9/7/15 at 7:21pm
To those who saw the dress, where were you sitting?
My main question is: Should I sit in the orchestra, or aim for the mezzanine? I really want to *experience* this production as best I can, and not *miss* any intricacies.
Posted: 9/7/15 at 8:35pm
Mezzanine is fine. The uses the full height and width if the stage for it's actors and projections. Sitting in the absolute rear orchestra will obstruct a few moments, I think. I was in the mezzanine,
Posted: 9/7/15 at 9:01pm
For those interested, there are 2 dates now on tdf
Posted: 9/7/15 at 9:39pm
Big deal! I have a whole package of dates on my counter.
Posted: 9/8/15 at 11:05am
While I greatly enjoyed this in Los Angeles, I also though the pacing was uncomfortably slow. I am hoping that has been tightened and I wish this production huge success!
Posted: 9/8/15 at 6:06pm
Dumb questions I can't find the answer to: Opening night is Sept 27, right? So is that an unlisted night performance, or is that the 3pm show that is on the calendar? Seems wrong that it would be the 3pm show but also weird if opening night is after a matinee?
Posted: 9/8/15 at 7:08pm
Went to lottery today, I believe there were 28 seats available in the front row and boxes. They did a little ASL lesson before the drawing too. The lottery losers could get seats for the show for $60, and I ended up with side Orchestra row F. It's listed as partial view but I'm very happy with the price. Can't wait to see the show!
Posted: 9/8/15 at 7:14pm
When you say "projections", are they detailed? Looking for some kind of gauge here from distance from the mezzanine.
Posted: 9/8/15 at 7:29pm
Standing in line outside the theatre. As someone who does not worship the material as others do, I hope this production will allow me too see t with new eyes and prove to be a wonderful night out. Keeping in mind that this is the first preview, the sound and transitions may be a little off, but the performances are sure to be riveting from the reviews on the West Coast.
Posted: 9/8/15 at 10:39pm
I hated the original and I saw the new one in LA. It's the production we (and the show) deserved the first time around. The parts of the text I struggled with the first time around haven't gone away, but this is a dramaturgically sound, incredibly moving take that almost makes you look away from those things a little bit. I wish it a triumphant run full of packed houses. I can't wait for more people to see this, and I'm looking forward to seeing it again.
Posted: 9/8/15 at 10:55pm
Wow. This is the first time in years I've been speechless after a show. This production is unbelievable. Michael Arden's direction is a true gift to Broadway, let alone Spring Awakening.
It's very tough to describe, let alone critique this revival. The cast is wonderfully talented. Austin P. McKenzie (Melchior) has a true talent. The cast is superb. I really can't stress that this show is very difficult to describe without having seen it. It's sparking more conversation that I want to have about the directing choices and changes (I saw the original production many times), that left me in awe.
I was out on the street by 10:40. Show runs smoothly, minus one pause between Those You've Known and Purple Summer that was a bit awkward. The audience was electrifying, which was one of the reasons I wanted to catch the first preview. Sat in TDF seats: Row G, Orchestra Left. Excellent view, but I recommend seeing this show from the front of the mezz.
Whether this show is your favorite or not quite your cup of tea, this production is truly mesmerizing.
Updated On: 9/8/15 at 10:55 PM
Posted: 9/8/15 at 10:59pm
My many quibbles with Arden's often busy direction and several performances really diminish when I consider the surprising final tableaux and the numerous moments of beauty and ingenuity in this production. It is really a reinvention and reinvigoration of the material that will be remembered for a long time, and absolutely worth visiting.
Updated On: 9/8/15 at 10:59 PM
Posted: 9/8/15 at 11:36pm
Readers be warned, this review will feature many comments on direction, so if you want to go in without any idea what it is like, stop reading now.
It was fantastic. This entire production is proof that material can be elevated to far above its worth. The entire cast is full of talents. Austin McKenzie (Melchior) is a revelation. He carries the show and becomes the emotional crux of the evening. His singing is fabulous, his acting is superb, and he's pretty nice to look at. He is a performer to watch for sure.
The cast is uniformly superb (with one exception that I'll get to later) and they all use the stage to their full advantage. Standouts include Daniel N. Durant, Sandra Mae Frank, and Cameron Manheim. Andy Meintus and Krysta Rodriguez leave lasting impressions (in Krysta's case, chilling) in their sketchbook parts.
But the true star of this production is the director, Michael Arden. He kept the show from tipping into preachy territory (which it often slips into in other productions I've seen) and added many wonderful surprises along the way.
Most of the cast is on stage basically the entire show - rarely is anyone alone. The use of shadows (projected on the wall) provide a sense of isolation even when they are surrounded. The voice of Moritz and Wendla appear mostly in shadows, voicing their lines, even connecting to their respective self to show moments of revelation. Moritz's voice holds the gun, finally handing it to his self and exiting, leaving Moritz literally without a voice before the act. The signing feels natural, as do the use of projections, which are very good (only a few mistakes which will get solved in previews).
The deaf actors use their natural voices a few times, which give a sense of shock and vulnerability which really takes you by surprise. Not to mention the final moment is brilliant for its use of theatricality.
The only thing that reminded me this was a first preview was the sound, but the problems got much better as the performance went on. My only quibble with the show was Katie Boeck, the voice of Wendla. Her voice was poppy and thin, and she spent the entire show hunched over. He acting may be good, but it was hard to get past those things.
The show is the same - the adults are still cartoonish villains and many book scenes ("I skim the top"
are cringe-worthy. However, this is a gorgeous and moving production that is well worth anyone's time. I was a fan, even not liking the show before going in. It is a special experience and I hope anyone who can will be able to attend.
Updated On: 9/8/15 at 11:36 PM
Posted: 9/8/15 at 11:42pm
Sally, I agree with you in re: Kate Boeck. I didn't mind her singing, but found her line delivery extremely stilted and strangely phrased- almost as if she were dependent on watching the signing of her counterpart.
Posted: 9/8/15 at 11:47pm
Did the show sell out? Just wondering if a lot of people are going since the show only closed a few years ago
Posted: 9/8/15 at 11:57pm
Jordan, she was very good. She wasn't used as much as she could have been, but every time she was onstage she had such great presence and vulnerability it was almost impossible to look away. She brought shading to a few hard roles and made it her own.
Posted: 9/8/15 at 11:57pm
Both Matlin and Manheim were both excellent in what are essentially thankless roles.
Posted: 9/8/15 at 11:58pm
100% agreed, Kad.
Posted: 9/9/15 at 12:00am
I'll state upfront that I strongly disliked the original (only a few elements saved me from all out hating it), and I was/am heartbroken that this bested Grey Gardens, especially in the book and score departments. The recent Buckley/York production of Grey Gardens caused me to really re-examine that score, and the glories I remembered had only multiplied with the passing of time. After tonight I truly will never understand the appeal of this score, especially the lyrics; I'll admit that some of the tunes are catchy, but that's as far as I'll go.
The direction sometimes worked for me, but I didn't find it to be nearly as genius as some other posters. At points I even found myself preferring the original production, which is something I never thought I would say!
The best part of the original was John Gallagher and his electrifying performance. He had such a presence with his reddish hair standing straight up and his Moritz was the only one I felt for over the course of the evening. It wasn't that I thought Daniel Durant and Alex Boniello were bad as Moritz, but I felt like they just felt like part of the ensemble rather than stole the show.
I did like Camryn Mannheim and found her to be an imposing figure; Matlin had the opposite effect, basically fading into the background for me.
Overall I guess I would say I liked this more than the original, and I swear I tried to go into it with as open a mind as possible, but it didn't really win me over and I'm going to have to just accept that Spring Awakening and I are never going to get along.
