I got to see the show tonight, after seeing it in May at Second Stage. Count me among the group who think this is a fantastic piece of art. It speaks strongly to growing up in the digital age, something no other Broadway musical has really tackled up until this point.
I was sitting row J in the center, and I wouldn't have rally wanted to be any closer. The stage, as noted several times in this thread, is very high, I went and peaked at intermission and noted that the show deck is about 8 inches high off the stage of the Music Box. Combine that with the 2 platforms that track most of the scenery on and off, which are another foot tall, and the first 5 or so rows really are craning their necks to see most of the action.
The sound board is in the house right box, the $69 tickets they have been pushing on twitter are in the house left box. For the same price, I would probably opt for rear mezzanine-This is a show designed to be seen with the full picture.
Right now, the last row of the orchestra center is being used by lighting and video design, with monitors popping up into the standing room area, which tonight was occupied by Michael Grief and his associate, Stacey Mindich, Steve Levenson, a number of the designers and the Swings. I'd imagine once the show is up and running they will start selling standing room. The directing team had a whole lot of notes, and the lighting programmer was even making changes at intermission. The lighting monitor said Dear Evan Hansen Saturday, so they are making changed frequently in the technical elements of the show.
They really haven't done much to the story, a few lyric changes here and there, reassigned solos, more projections to fill the larger stage and projections on the stage that I don't remember being there, but it's the same show. I feel like they may have cut a bit out of the opening to get to Waving Through a Window sooner. This song brings my one complaint. The current lighting plot has the number end in a blackout, followed by applause that rivals the response to Cynthia's big number across the street. If the lights stayed up, Ben would be getting a standing ovation every night, but it's not going to happen in the darkness.
I think Ben Platt is giving the strongest performance on Broadway right now, and he never leaves the stage for more than 30 seconds. It is a career-making performance for any actor, not to mention a 23 year old who is originating his first role in a Broadway musical. Thought I haven't seen Josh Groban yet, I'm giving the Tony edge to Ben, who is giving a nuanced, delicate performance, rivaling Alex Sharp in dedication and intensity, but with crazy high notes.
The rest of the cast is fantastic, all of their performances have gotten stronger, and I'm thankful Michael Park was able to come back into the show for Broadway. I also thinkRachel has a fair shot come awards season, but I've been told that they are all being superstitious-Don't mention any of the awards at the stage door.
Stage Door-It was surprisingly calm for a first-week Saturday night. I'm thinking the cold rainy weather helped, but it was only about 2 deep. I'd imagine it might be busy the next week with college-age students on vacation. They have changed the set-up from how they normally do this at the Music Box. Instead of boxing off the doorway, the barricade extends all the way down to th box office, letting everyone in. The whole cast came out, signed, took pictures, and were willing to have a conversation with anyone who wanted to.
This is a brilliant piece, get tickets now, while you still can.
