Drowsy Chaperone Reviews- Page 6

[Thesbijean]

Posted: 5/2/06 at 12:04pm

It isn't as dance heavy as say Millie, but it has a decent amount, like 3 dance numbers and a lot of theatrical movements...

[best12bars]

Posted: 5/2/06 at 12:07pm

ddtruitt---I think you need to re-read the Jersey Boys reviews. From your comment, you obviously haven't done that.

[ahimsa]

Posted: 5/2/06 at 12:14pm

Any one know of a special offer ticket code that doesn't expire 5/28?

[best12bars]

Posted: 5/2/06 at 12:33pm

ddtruitt--What does "fair" have to do with saying there are more postitive reviews for Drowsy? It has nothing to do with whether I've seen JB or not. You're bringing your own agenda into each of your posts here.

If you look at the reviews in a side by side comparison, Drowsy received more raves and favorable notices than Jersey Boys did. I was surprised by that myself when I went back to see the other review thread. It had been so long I didn't remember.

Not by a wide margin or a "landslide" difference, but the math speaks for itself.

[best12bars]

Posted: 5/2/06 at 12:42pm

Okay, then. If you say so.

[Ourtime992]

Posted: 5/2/06 at 12:42pm

If Jersey Boys had opened last week (after the half-dozen terrible shows, instead of before them when we were all looking forward to how great Tarzan and Wedding Singer were going to be) I think it would have been more highly praised as well. The Drowsy Chaperone may be just as wonderful as the raves are making it out to be, but some of that has to be spilling over from the lack of other hits this spring. When it comes right down to it, I think these shows are going to cut the Tony voting body right in half. It should be an interesting race.

[munkustrap178]

Posted: 5/2/06 at 12:43pm

Our Time, that's exactly what it is.

[Danielm]

Posted: 5/2/06 at 12:46pm

I loved Drowsy Chaperone but I don't think it will win the Tony. I think that while it is clever and people like it a lot the score is only so-so and the best role in the show is a non-singing role. I also loved Jersey Boys but it is a "Juke Box" musical--probably the best of the genre, but still carries that stigma. I've spoken to several Tony voters and from what they've said they recognize that The Color Purple is much better than the reviews said it was, also LaChanze has been around for a long time, is well liked, and turns in an astounding performance that is the best performance by a leading actress in a musical this season--I think it would be foolish to count her out as a leading contender in the field--as I think it would be foolish to count out the show. The critics impact on the voting is not really that strong as the voters have to see the shows.

[MargoChanning]

Posted: 5/2/06 at 12:47pm

I enjoyed both, with reservations:


https://margochanning.broadwayworld.com/the_drowsy_chaperone.htm

https://margochanning.broadwayworld.com/jersey_boys.htm

[Princeton78]

Posted: 5/2/06 at 12:51pm

I think Drowsy is HILLARIOUS and BRILLIANT at points, but really won't be understood to it's fullest potential by tourists.

[inla2]

Posted: 5/2/06 at 1:00pm

Hollywood Reporter is a rave.

[inla2]

Posted: 5/2/06 at 1:03pm

Bergen Record...a rave as well.

[jdixon69]

Posted: 5/2/06 at 1:17pm

It also doesn't hurt The Color Purple that it's making money hand over fist.

[MargoChanning]

Posted: 5/2/06 at 1:18pm

I really try not to get caught up emotionally when it comes to awards -- any awards. There's a million reasons why certain shows and people are overlooked for nominations and awards and certain others are singled out. Sometimes it's based on merit and sometimes there are other things going on behind the scenes. So there's no point in getting too upset with awards results -- unless you yourself had a possibility of being nominated (and even then such things are out of your hands).

I like Drowsy, I like Jersey Boys, and yes, I even like Color Purple. None of them would make a list of my top 50 all-time shows, but I thought they were all entertaining and had certain aspects I found noteworthy and others I was less impressed with. Since none of these shows are what I would call masterpieces, I personally am hoping that the Tonys will spread the wealth a bit this year and honor all three with an award or two.

I'm not really rooting for any of these choices this year -- whatever happens, happens (frankly the plays this year -- History Boys, Well, and Inishmore -- are far more accomplished and theatrically exciting than any of the musicals). I'm just hoping for a better, smarter, more inspired slate of shows next season.

[jv92]

Posted: 5/2/06 at 3:34pm

I think Clive Barnes' review for the show was a bit mean, but then again, people are entitled to their opinion. Remember, Barnes is not one for pastiche. In the 60s, the main reason he liked Hair was because it had a new sound. He liked Company's score, though, I think.

[maybethistime]

Posted: 5/2/06 at 7:17pm

I agree with the few that have posted similar ideas above, but I'll sum up my opinion on its' Tony changes:

I think DROWSY for sure has the leg up for the Tony, but I'd say its between JERSEY and DROWSY. DROWSY is totally original, a riot, a good time and appealing to theatre-lovers or tourists, basically anyone who wants to laugh. JERSEY is a jukebox musical and it seems to be getting a pat-on-the-back for being good for a jukebox musical. No Tony voter who probably has money in the business wants to encourage producers to keep flopping shows like HOT FEET, ALL SHOOK UP, GOOD VIBRATIONS or RING OF FIRE. I will admist that JERSEY is up there with AIN'T MISBEHAVIN' as far as jukebox musicals go, but otherwise, I'd say its pretty mediocre. Personally, I love DROWSY's score, but most don't, so we'll rule that out as an asset, but JERSEY has NOTHING going for it as far as the score goes, either. JERSEY's book is a flimsy backstage story and if you've seen RAY or WALK THE LINE or any generic MADE-FOR-TV MOVIE ABOUT A SINGER, you've got it. The book is DROWSY's biggest asset as its hilarious and co-written by its' star who won't win for Best Actor (but who'll get a much deserved nomination). If the Tony usually goes to the show thats the best overall production, DROWSY's set and costumes have been raved about all over. JERSEY's sets and costumes honestly look like they didn't try very hard. One can't blame the costumes or the costumer as they were just realistic, period clothes, but as for the set, projections just come off as lazy and a way of getting aournd spending money on elaborate scenery, and they haven't worked for very many shows in the past and the Tony commity won't encourage it. As far as the casts go, they are both amazing and deserving and hardworking, and I predict JLY will win the Tony for Actor, but besides an amazing core of actors who give heartfelt performances, it appears JERSEY has nothing on DROWSY.

That post is probably laden with spelling and gramatical errors but... what can I say? I don't mean to rant or put down JERSEY BOYS because I loved it, but what does everyone think it has on DROWSY? I'd say not much, especially that would appeal to Tony voters.

[maybethistime]

Posted: 5/2/06 at 8:29pm

It just depends on the season. This years (in my opinion) two biggest contendors happen to break down that way, and all of that criteria is totally based on soley my opinions of the two shows. It's not every going to to fall out the same way for more than one specific season.

[MargoChanning]

Posted: 5/2/06 at 8:40pm

Forget discussions of quality. Some years, the Tony voters vote their wallets and not their "hearts" as the AVENUE Q people encouraged them to. SPAMALOT had a $30 million advance going into the Tonys last year and a decent enough slate of reviews to not be considered an embarassment. Voters doled out six awards to PIAZZA (and a couple to SPELLING BEE) to assuage their consciences that the Tonys somehow still represent artistic merit (HA!) but when it came time to vote for the main money award, the one that actually sells tickets, they got dollar signs in their eyes and went with Python.

Same thing happened a couple of years ago. They gave book, score and director to URINETOWN, but the money award went to MILLIE which they thought had wider appeal and would tour better.

We'll see which way they go this year.

Updated On: 5/2/06 at 08:40 PM

[nomdeplume]

Posted: 5/2/06 at 8:42pm

Damn, I love them monkey's SIMBLES

and their CIMBLES

and their PSYMBELLS

and their CYMBELS

and

ALL

THAT

JAZZ!

Drowse me, Chaperone!

[maybethistime]

Posted: 5/2/06 at 8:49pm

As far as touring is concerned, I think they would both appeal to regional audiences, but JERSEY BOYS doesn't need the Tony to assure it, people will flock to a musical about The 4 Seasons. If winning the Tony is the comitee's way of helping the tour, give it to DROWSY.

[dented146]

Posted: 5/2/06 at 9:41pm

It's great that there is another good show. As far as trying to compare TDC reviews to JB, I feel Ourtime has a valid point. It's almost like watching Olympic ice skating. JB arrives on the scene first; a jutebox musical. That's like being the third member to make the team from Costa Rica. She gives a brilliant performance but what judge is going to give that skater 6.0 across the board? Plus the very next to skate is numero uno from the US wearing purple.

After everyone else falls down along comes a really cute little girl from France and she is very good. Who is going to get the best score?

[inla2]

Posted: 5/3/06 at 5:28pm

TimeOut and NY1 both raves.

[allofmylife]

Posted: 5/3/06 at 6:00pm

I almost don't want to wade into this river but here goes....

It seems to me that a Tony award for best musical should go to something more than the show that made you feel good, or made you laugh the most or even made you cry. The award is for "excellence in the field of musical comedy or drama" and from that viewpoint, how can you even consider a show like The Jersey Boys, where there was not one iota of creative work done to conceive a score for a musical? The songs in the show were written years ago, sold years ago, recorded decades ago and became beloved hits decades ago. The songwriters never, not once I am sure, thought they were creating songs for the musical theater.

The effort required to produce this show was basically (1) decide to mount the show -and find the money to do so, (2) acquire the rights to the music (3) obtain the life rights of the members and (4) hire someone to write a book BASED ON THE LIVES OF REAL PEOPLE.

Quite frankly, the same is true for "The Color Purple" but instead of the music, you have an existing book and a hit movie, so there, the required effort is (1) the same as above (2) same as above, substitute story for music (3) obtain rights to movie and (4) hire someone to write music BASED ON A HIT MOVIE.

Granted, that requires somewhat more effort than Jersey Boys, but compare those two shows to, oh.... I dunno.... let's say.... The Drowsy Chaperone?

That show was created from DUST. FROM THIN AIR. It has a purpose created score. It has a book which has grown organically from a tiny presentation in a 60 seat theater to a show that fills a 1600 seat theater and garners rave reviews. Every character is a work of creation and art. Every song is a symphony written just to service this show. Every joke is an inspiration pulled out of thin air.

And BTW, Urinetown, Avenue Q and The 25th Annual Spelling Bee strike me as similar amazing creative efforts.

So for me, it's not that hard a choice to pick the best musical of the year.

[maybethistime]

Posted: 5/3/06 at 7:02pm

Perfectly said. Couldn't agree more.

[WiCkEDrOcKS]

Posted: 5/4/06 at 11:46pm

NY1 is a rave:

The Drowsy Chaperone is a valentine to theatre fans– a lovely confection that has audiences swooning in sweet rapture. This unlikely little musical plays on a number of levels and succeeds beautifully on each of them.

To insiders it's a validation of theatrical tradition. To general enthusiasts it's solidly entertaining; and even to the very young like my 10-year-old daughter, it's a discovery of how magical legitimate theatre can be.
-------------------------------------------------

Bob Martin as the man in chair and the show's co-book writer along with Don McKellar delivers divinely on both fronts. And composers Lisa Lambert and Greg Morrison create some truly exquisite gems that are as melodious as they are clever.

The criminally gifted Beth Leaval sets the house on fire. And just when you thought you knew the extent of Sutton Foster's talents she dazzles us with stunning versatility.

Director Casey Nicholaw who choreographed "Spamalot" maintains a marvelously unified vision. The beauty of this show is that it's universally appealing in spite of its seeming limitations– a hokey, phony old musical with no big stars or familiar tunes.

Sounds doomed, almost as bad as its lackluster title, but then what's in a name. With The "Drowsy Chaperone," Broadway is waking up to a bona fide original.

http://ny1.com/ny1/content/index.jsp?stid=238&aid=59115