#1
Posted: 3/18/06 at 12:18am
Greetings from Cincinnati. I posted this in one of the other Company threads, and then I decided I wanted to start one. So, yeah.
I'll start by saying that I loved the show, but I don't think I really believe it to be an absolute must-see; and I don't blame that on the production, but on the fact that while heartfelt and affecting, I wonder if this is truly one of Sondheim's best works, as a whole. The score is lovely, and the book is even not all that problematic, to me, but it seems almost somehow incomplete, the way it sort of just meanders around.
As far as the concept and the show, I think it definitely works. It doesn't do anything for the material, per se, and I think I find the actors-as-musicians a bit more distracting here at first than I did in Sweeney, but it stops being distracting after you get used to it. The only number where it really was much of an enhancer was in Side By Side -- seriously, a fun number. And some hardcore cymbal playing by Mr. Esparza. It works, but it's not imperative.
Someone on the boards expressed an interest in the lighting. It's simple. Lots of spotlighting. There are splashes of color in the lighting; mostly green and red. The set is even more minimal than Sweeney's set. The color scheme for the show, while a bit bland, is chic, and elegant, and pulls the show out of the 70's, almost completely. It could use more color, but this works, too. Quite well with the concept and the way its tone is played off, I think.
The show is hardly not funny, which I know some were worried about because of the nature of the production, but it's a very deadpan humor, which I loved. Lots of laughs, even though the jokes aren't totally overt.
The orchestrations are so much crisper and more modern than the OBC recording. Honestly, I like them better.
The cast is fine. The wives were more memorable than the husbands for me. They're all fine musicians, but I don't think the singing and acting talent was compromised for musical talent. Mention for Angel Desai, as Marta -- funny, spunky, spot-on. Barbara Walsh is... someone said interesting. She's not bad; I know some people here were concerned. She's just... well, very deadpan.
Raúl. Raúl, Raúl, Raúl. I think it was John Simon who said that he was "dizzingly gifted." There is not a thing this man can't do. Sings, dances, acts, plays instruments, and makes it all look so easy in a hugely touching performance. His Bobby has his emotions on his sleeve; happy, but hurting, surrounded by friends, yet lonely. And he displays it all with sincerity. He's charming, sarcastic, lovable, charismatic and sexy as all hell. His deliveries are perfect, and I especially loved the scene just before Barcelona. He is in absolutely astounding voice; Being Alive tore that house down. Three minutes I'll never forget, that's for sure. Major, major snaps for him. He's so commanding, breathtaking, and he is reason to see this. He looks great, he sounds great, and he owns that role.
A work of art is an invitation to love.
I'll start by saying that I loved the show, but I don't think I really believe it to be an absolute must-see; and I don't blame that on the production, but on the fact that while heartfelt and affecting, I wonder if this is truly one of Sondheim's best works, as a whole. The score is lovely, and the book is even not all that problematic, to me, but it seems almost somehow incomplete, the way it sort of just meanders around.
As far as the concept and the show, I think it definitely works. It doesn't do anything for the material, per se, and I think I find the actors-as-musicians a bit more distracting here at first than I did in Sweeney, but it stops being distracting after you get used to it. The only number where it really was much of an enhancer was in Side By Side -- seriously, a fun number. And some hardcore cymbal playing by Mr. Esparza. It works, but it's not imperative.
Someone on the boards expressed an interest in the lighting. It's simple. Lots of spotlighting. There are splashes of color in the lighting; mostly green and red. The set is even more minimal than Sweeney's set. The color scheme for the show, while a bit bland, is chic, and elegant, and pulls the show out of the 70's, almost completely. It could use more color, but this works, too. Quite well with the concept and the way its tone is played off, I think.
The show is hardly not funny, which I know some were worried about because of the nature of the production, but it's a very deadpan humor, which I loved. Lots of laughs, even though the jokes aren't totally overt.
The orchestrations are so much crisper and more modern than the OBC recording. Honestly, I like them better.
The cast is fine. The wives were more memorable than the husbands for me. They're all fine musicians, but I don't think the singing and acting talent was compromised for musical talent. Mention for Angel Desai, as Marta -- funny, spunky, spot-on. Barbara Walsh is... someone said interesting. She's not bad; I know some people here were concerned. She's just... well, very deadpan.
Raúl. Raúl, Raúl, Raúl. I think it was John Simon who said that he was "dizzingly gifted." There is not a thing this man can't do. Sings, dances, acts, plays instruments, and makes it all look so easy in a hugely touching performance. His Bobby has his emotions on his sleeve; happy, but hurting, surrounded by friends, yet lonely. And he displays it all with sincerity. He's charming, sarcastic, lovable, charismatic and sexy as all hell. His deliveries are perfect, and I especially loved the scene just before Barcelona. He is in absolutely astounding voice; Being Alive tore that house down. Three minutes I'll never forget, that's for sure. Major, major snaps for him. He's so commanding, breathtaking, and he is reason to see this. He looks great, he sounds great, and he owns that role.
Updated On: 3/19/06 at 12:18 AM
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