Flying Over Sunset - Previews Thread — Page 13

BCfitasafiddle said: "TaffyDavenport said: "BCfitasafiddle said: "Don't know how to use the FSTM212 code on Telecharge. Is there somewhere to put the code in checkout? Appreciate any help anyone has!"

https://www.telechargeoffers.com/

"

Ah. Flying Over Sunsetisn't listed there anymore. Ugh."

Try TodayTix instead

barcelona20 said: "BCfitasafiddle said: "TaffyDavenport said: "BCfitasafiddle said: "Don't know how to use the FSTM212 code on Telecharge. Is there somewhere to put the code in checkout? Appreciate any help anyone has!"

https://www.telechargeoffers.com/

"

Ah. Flying Over Sunsetisn't listed there anymore. Ugh."

Try TodayTix instead"

Put the code in the box that says "Promotional Code."

gibsons2 said: "JSquared2 said: "gibsons2 said: "Wick3 said: "Thx kwoc91! I haven't been to those theaters yet. It looks like the non-profit ones are the ones without a bar. I've been to theaters run/owned by Jujamcyn/Shubert/Nederlander and they all had concessions."

Stephen Sondheim theater (Mrs. Doubtfire) doesn't have concessions"

Do you mean not at this particular time? Because the Sondheim absolutely does normally have concessions."

I don't know if normally it has concessions, it was my first time in the theater, but we were told immediately upon entry that there are no concessions in the theater due to Covid concerns."

The night I went (November 3), they sold bottled water in the mezzanine. I was talking to the bartender about 20 minutes and watched him. It was $6 (!).

Thank you TafftDavenport for sharing the code. I got a great seat for a performance next week.

I just got out of the show and really enjoyed it. The cast is incredible and you can tell they're having a ball performing this. The plot needs to be tightened a little and some pieces of the show may need to be ironed out but I look forward to returning soon.


I'm crossing my fingers there's a cast recording in the near future.


Carmen Cusack is absolutely amazing in this...

ColorTheHours048 said: "Oh, dear. Not a lot of kind words to give on this. And the buzz in the audience coming out of the theater after was decidedly “Let’s get as far away from here as possible to talk about what we just watched.”

I’m just not sure what the point of it all was. Lots (and I mean lots) of talking about some very surface-level grief and identity issues, a group of actors who have clearly never experimented in psychadelics, and some very Diet Sondheim tunes do not a musical make. With the exception of a very early act one tap number for Tony Yazbek, the show fails to generate any kind of reason for existing.



Act two needs some HEAVY cuts and rethinking to make this show worthwhile. Act one spends 95% of its runtime setting up the personal lives of the three leads, leaving us with a final 5% promising a very different second act that’ll open the show up in a similar way LSD opens up the characters. But the moment never arrives. They just talk and talk and talk and sometimes that talking is singing for no reason. It’s pretty interminable. Even the moments of whimsy go on for too long past their welcome.

I guess the performances are fine, but frankly, I can’t say I cared enough about anything that happened to say anyone was particularly effective. The show is that much of a black hole of entertainment."

Are you saying the actors have to experimented in psychedelics to be in the show? Perhaps you could share your personal experience in that area with them.

I loved the set and lighting design and I found the score to be quite lush. It is the book that needs work. At this point I do not know how much of that could be changed. The characters could be richer and their journeys could be more interesting. The two male characters for example start from an emotional repressed place which makes them rather dull. The Grant character could have had a public persona and a private one which might have given the actor more to work with.The female character is given more to chew on.There is a fair amount of sitting around and talking which at times is tedious.

Act 2 needs to be much shorter. It is way too long. There is a number or two that could be sacrificed. Cues could be picked up as well. I grew impatient with it.

The stories of the three leads are told separately through out the show and I think it would have been more interesting to have interwoven them. The female lead sounded great although at times I could not understand her lyrics. Tony danced well and a Harry was ok. I would have preferred a stronger vocalist. Robert Sella found some welcome humor and there was one bit that had me laughing for a solid minute. I will not spoil it for you. Some ensemble members had lovely voices.

In most modern musicals the songs propel the story forward but I did not find this to be true with this musical.

I do give props to everyone involved because it is an ambitious undertaking with a fair amount of promise. But if you criticize it as a whole it has a ways to go.

The second act being seen as a mess by some reminds me of another Lapine effort—Sunday in the Park with George—and how long it took for that second act to really work consistently in productions.

This post is about sound. I watched the first preview from the first row of the loge, 6 seats from the end on the left side (actor's left). It was hard to catch all the dialogue AND the lyrics from up there, but it's a problem I've noticed with this theater before. I watched "War Horse" from up there, but on the right side, and had the same issue. I never make the same mistake three times.

I came back on Friday and got an orchestra ticket (H 505) which was not in the center section, but two seats from the aisle and much closer to the stage. The sound was much better and I liked the show so much more when I could hear clearly what they were singing/talking about; didn't have to guess or fill in the blanks.

Interestingly, the two people sitting to my left and I were the only people in our section that were laughing consistently. During intermission I asked them if they had seen the show before, and they said yes, they were there for the first preview, but had sat in the middle orchestra section, last row, under the overhang, which they had been warned had sound issues, which turned out to be difficult for them. They thought having great sight lines would make up for any sound issues, but discovered that overhang made catching all the lyrics and dialogue hard. So they came back the next night and by coincidence sat next to me, who had a similar issue with the sound in the loge.

I know this is an issue in that theater. Back a few years a friend and I saw South Pacific many times -- including the first preview and the final matinee, and many last minute tickets after standing in the cancellation line. A show like that drew a lot of older audience members, and at every show we attended, at intermission there was a long line of people getting the headphone hearing devices. The fact that they were getting them at intermission, not prior to the show, was because many of them normally didn't need them for theater, but for that show they discovered they did (yes, I asked some of them). I'm very interested in all aspects of performing, and if the audience can't easily hear what's happening, that's a problem.

I'm grateful that I could buy a second discounted ticket to see this show again, and maybe it's just not possible to create sound for that room that works consistently for all. But I would recommend that you sit as close as you can. I enjoyed it so much more the second time, just surrendered to the languid pace and watched it unfold.

I appreciate a theater that doesn't crank the volume like many do, but the downside is that when it's a subtle, thoughtful show, like this is, the audience shouldn't have to work hard to grasp it all. I'm in my late 60s, but the two people sitting next to me, very fit, looked to be between 30-40. I guess we all could have gotten the headphones during intermission of that first performance, but that's a whole other issue. But if you have any doubts about your hearing, I'd recommend you get the headphones. You don't have to use them, but I wished vanity hadn't gotten in my way during the first preview.

I saw it Friday night (last night 3rd preview I think). Totally disliked it but scenery (one piece reminded me of Into the Woods) and Carmen has a good belting song in act 2 and Tony has a great dance/tap in Act 1.

I didn't care at all about the characters.

What is up with all the walking around in circles on stage suppose to mean?

I saw it yesterday and found it to be a very enjoyable night at the theater. That's not to say I loved every minute of it (or cried through the whole show as I did "Caroline or Change", but there is much to admire.

Tony Yazbeck and Carmen Cusack were both tremendous and the production was masterfully staged. The score was nicely crafted and beautifully orchestrated. It has been interesting reading the comments. Some sequences others hated I enjoyed and vice versa. My feeling was that in the first act the stakes felt very low (Yazbeck's stunning tap number being the exception). It was just one long introduction to the characters.

I actually preferred the second act, although I agree with others that it felt too long. Without giving anything away, there is a hilariously zany number for Cary Grant. I wish the writers had brought more of that energy. The male characters are very stiff upper lip Brits and I wanted to see them break out more. Cusack gets a terrific 11 o'clock number. I was genuinely moved by the connection the characters made at the end of the show after their trip. It seemed like how long winding road to get there, however.

Can someone help me understand what all the walking around in circles on stage is suppose to be?

@christinelavin, I always thought the sound design folks of the team would address the acoustics issue of the theater. I've only seen King and I, Oslo, and My Fair Lady at the Vivian Beaumont and didn't have sound issues but then again I used LincTix and sat in front side orchestra.