For me, it's any time a performer makes their entrance and the audience has enough respect for the show not to break the mood by applauding a star's mere presence.
"You travel alone because other people are only there to remind you how much that hook hurts that we all bit down on. Wait for that one day we can bite free and get back out there in space where we belong, sail back over water, over skies, into space, the hook finally out of our mouths and we wander back out there in space spawning to other planets never to return hurrah to earth and we'll look back and can't even see these lives here anymore. Only the taste of blood to remind us we ever existed. The earth is small. We're gone. We're dead. We're safe."
-John Guare, Landscape of the Body
Most entrances these days are designed for entrance applause. And of course it's awkward when there's none. Like at the performance of FOLLIES I recently attended where not a single principal received more than a hushed spattering. If 99% of entrances weren't built around entrance applause, then it wouldn't be so weird when there isn't any, and it would be truer to the flow of the show.
Just my $0.02.
"You travel alone because other people are only there to remind you how much that hook hurts that we all bit down on. Wait for that one day we can bite free and get back out there in space where we belong, sail back over water, over skies, into space, the hook finally out of our mouths and we wander back out there in space spawning to other planets never to return hurrah to earth and we'll look back and can't even see these lives here anymore. Only the taste of blood to remind us we ever existed. The earth is small. We're gone. We're dead. We're safe."
-John Guare, Landscape of the Body
I don't really understand entrance applause, minus certain circumstances (ie: after Tonys, closing, etc)
The opposite but: I thought the entrance applause for Laura Osnes and Jeremy Jordan was random and distracting in Bonnie & Clyde, as well as unnecessary during previews anyway.
The most awkward entrance applause in my book, however, came from another Wildhorn musical, WONDERLAND with the villain, Kate Shindle receiving huge applause; looking back I don't think it was intentional but it calls her it. Especially since no one else got entrance applause, most importantly, uh Alice.
^ In the same token, I found it rather silly how Audra McDonald and David Alan Grier received massive entrance applause in PORGY & BESS, but Porgy himself (Norm) received none.
"You travel alone because other people are only there to remind you how much that hook hurts that we all bit down on. Wait for that one day we can bite free and get back out there in space where we belong, sail back over water, over skies, into space, the hook finally out of our mouths and we wander back out there in space spawning to other planets never to return hurrah to earth and we'll look back and can't even see these lives here anymore. Only the taste of blood to remind us we ever existed. The earth is small. We're gone. We're dead. We're safe."
-John Guare, Landscape of the Body
I saw Fantasia in The Color Purple in her very early shows, her entrance received quite the applause. When I saw Wicked this past week, the 2nd national tour, Glinda received roars while Elphaba almost got the, "Are we clapping for her as well" response.
I wouldn't necessarily say it was Kate Shindle "packing" in the houses with WONDERLAND.
Actually in the January Tampa incarnation, Alice had a chance for entrance applause, perhaps it is in the style of the director: Some like the entrance applause opportunity, some don't (And it was a mesh of directors).
It doesn't bother me but probably because I came to theatre through my love of ballet--where breaking the fourth wall for bows, etc, is the norm (particularly in Russia where it DOES become annoying, they can go on for five minutes).
Contrary-wise, I do think it takes guts for a composer, writer and director to do a show that has no room for applause at all--song "buttons", entrances, etc.
I call it a tie between Kathleen Turner in HIGH and Harry Connick Jr. In ON A CLEAR DAY....although I give the edge to the former as the applause was uproarious in a half-full 750 seat house...
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I haven't been on stage for a while, but the entrance applause I used to receive (along with my exit applause) really bothered other members of the cast. I don't know why.