Just came back from the show tonight with much to celebrate, not least of which is that I finally had my first live meeting with an esteemed member of the BWW community--like one of those vaunted one-on-ones at SLEEP NO MORE! So yay, Dramamama! I think we need a secret handshake or green carnation or something so we can identify ourselves at a theater.
The show was lovely, personal and intimate and deeply troubling and deeply human. The score seemed like a gentle soundscape of orchestral textures backing some really wonderfully wrought lyrics, very much in the Jason Robert Brown/ "Passion"-era Sondheim mode. I could have used a killer melody or two, but even without it, I really felt the creators gave us a full rich meal here. Performances are uniformly superb, with extra kudos going to each of the 3 astonishing Alisons plus the Joan of Roberta Colindrez.
To answer another poster, no, the stage is not raised-- all seating is above the stage. I was in B211, an absolutely ideal vantage point, although the in-the-round staging is meticulous about directing the action so everyone gets a clear view.
To answer another earlier poster, yes, the show is " a dark, serious, emotional musical", and boy, is that a nice change from the norm.
Someone in a Tree2, thanks! I'm so excited to see this show. Question: do you think seats in row A would be less ideal due to trying to peer over the set or actor's heads? I've certainly experienced both those issues before in similar theatres.
As Someone in a Tree mentioned, I got to see the show tonight as well.
All I can say is wow....I loved every minute of it. Sydney Lucas is giving the best performance I've ever seen from a kid. Strong heartfelt performances all around, can't wait to bring g my daughter in a few weeks.
I cannot imagine a bad seat ANYWHERE...even in the 400s as we were led to believe.
If we're not having fun, then why are we doing it?
These are DISCUSSION boards, not mutual admiration boards. Discussion only occurs when we are willing to hear what others are thinking, regardless of whether it is alignment to our own thoughts.
Seats in row A would put you right in the actors' laps, which I imagine would be a great thing if you're loving the show and agony if you're not. I do know that those in Row A are instructed that they will not be permitted to leave and return to their seats due to the disruption it would cause (plus the safety hazard given the number of times the traps in the floor are opened).
I can't imagine your view would be obstructed for long given the frequency with which the furniture is rearranged (unless you were a very very tiny person to begin with).
Thanks all. The Telecharge discount was available for row A during our April trip, which I swear was not the case when I checked Thursday and yesterday. I was all ready to spring for premium tickets but this makes it so much better! Someone in a Tree, I decided to take the seats right in front of yours. :)
"Am i the only one on the board that thinks this is an overrated colossal bore?" If you aren't, it's not likely you'll find anyone brave enough to say as much.
Yep, you know how revolting discovering you sexuality is, and having your life changed forever in one simple moment. Discovering who you truly are? Simply revolting.
"Sticks and stones, sister. Here, have a Valium." - Patti LuPone, a Memoir
I sat in the 400s tonight and the view was excellent. The show was outstanding and I'm still far too overwhelmed to fully dissect it. I hope to return again because there's more I want to watch and learn. I can't even imagine this not in the round, that's how flawless and natural the staging was. Really just some of the most simplistic yet intricate storytelling I have ever seen. I'm grateful that we are living in a time where this show has a place on Broadway.
Just got in after seeing this with four friends, and we just spent three hours (and much wine) talking about. It's really wonderful. Surprising, dramatic, funny and just honest in a way most musicals aren't. The staging in the round is beautiful and interesting, and the performances are great. Judy Kuhn is amazing, and Michael Cerveris is so powerful. The kids are all great, and the young alison and college Alison are wonderful. I didn't see this downtown, and I just loved it. I want to go back again during previews to see if they make any changes. I can't imagine what they would change. I bought the cd, and I can't wait to re-hear the music.
I don't think Fun Home is better than Hamilton, but I also, in a weird way, don't think Hamilton is better than Fun Home. They're very different styles and have different reasons for being. But both are sort of amazing, and you're really into them as you watch them.
"If you aren't, it's not likely you'll find anyone brave enough to say as much."
You do know, I hope, After8 that it does not require bravery to express a dissenting opinion. So many people do so on here in so many better ways than you do. Somehow they never feel the need to bully and condescend, or play the victim, when discussing a show.
WHAT did you find so repulsive about the show? We know you seem to take offense at a character discovering her sexuality... Why?
I didn't notice the time, but the usher kept saying 1:40 was the run time.
"A for Al" was gone! Such a cute song on the recording!
If we're not having fun, then why are we doing it?
These are DISCUSSION boards, not mutual admiration boards. Discussion only occurs when we are willing to hear what others are thinking, regardless of whether it is alignment to our own thoughts.
Yeah "Al for Short" was cut and replaced by a short musical scene between Small Alison and Bruce that deals with the same situation. It's a similar musical theme to part of "Telephone Wire."
So glad to hear these reactions. I only know the show from the CD but find it breathtaking.
Hopefully this will settle in for a run to match Spelling Bee.
btw it doesn't take bravery to disagree, just a cogent argument; it's really quite easy to scream "no, no, no" repeatedly Updated On: 3/29/15 at 03:38 AM
Really glad to hear this show is taking off right from the start, particularly in adapting to the in-the-round staging (which I'd love to hear more about). Not really crying over the loss of Al for Short, which was cute but Ring of Keys touches on a similar subject while also being totally breathtaking. Every queer kid has probably been through both situations at some point, though I guess of varying degrees depending on how cis-sexual they turn out to be. The way Alison stammers during Ring of Keys strikes so close to home for me, that stuttering, unsure realization of this thing that's not quite sexual yet, but seems right somehow, is so movingly and charmingly portrayed. Also, I hope the orchestrations have that same New England-y flavor as on the cast album - I've never been to Pennsylvania myself, but I'm pretty sure my ears have.