I also find shouting (or screeching "Woo!") to be incredibly out of place, but I've become more accustomed to it due to the regularity with which it occurs. I'm not saying it's at all appropriate, though. I don't believe it is, and I also find it to be self-indulgent. Personally, anything other than clapping takes me out of the moment.
During the curtain call is the only time where it doesn't bother me given that the show has concluded. The work no longer requires my attention beyond giving the actors on stage the appreciation they deserve.
Are you saying that La LuPone didn't deserve the thundering "Bravo/As" after her final "With One Look" And "As If We Never Said Goodbye"!
Please point me to where I mentioned whether or not actors deserve "thundering 'bravo/As." All I spoke to was the way I view that practice as an audience member and how it affects MY experience.
Updated On: 3/30/15 at 12:49 PM
Broadway Legend Joined: 5/11/04
Was going to skip this mounting as I'd seen and loved the show at the Public. But since the consensus seems to be that the new staging makes it even better, I'm curious to see how so. To those who have seen it at Circle in the Square: What is the best section from which to view this production?
I heard there was standing room at last night's performance. Did anyone here avail themselves of that?
The 200s probably offer the best...and pretty much any seat in them. I was in the 100s and there was a moment or two I was like, 'MOVE THE F*CKING DOOR' but 99.1% of the sightlines were wonderful.
God, that was a specific percentage.
There was standing room on Saturday night. I noticed about ten people standing. The two seats directly in front of me were vacant; however, I didn't notice any other empty seats.
The 5 people standing last night seemed to be friends of the production. The box office made no mention of SRO when they said the performance was sold out to many people who asked.
I sat in the 100's last night, Row H. I was "house left," from the POV of walking into the auditorium.
Seating wise, I concluded last night that I think either "house right" in the 100's or 200's would be the best vantage point.
OK. So, my thoughts.
This production is simply sublime. The staging is as fluid as the storytelling, immersive and innovative. The lighting, set, and movement (and the performances) of the actors was masterful. Every movement of any object, light, or person is thoughtfully crafted - like a puzzle coming together piece by piece.
Everything about this production is so genuine. The actor's aren't acting. They are the Bechdel family.
The show, in a way has been downsized since the public - only 1 coffin, no walls, no diner booth, etc...but everything they got rid of has been replaced with something better, and then some!
The lighting and staging of "Come To The Fun Home," and "Raincoat of Love," are indulgent and grand, yet the simplicity of "Changing My Major," "Ring Of Keys," "Days and Days," and "Edges Of The World," create such masterful moments that draw the audience in. They don't need anything grand.
Perhaps my favorite thing about this transfer, is the fact I feel the show flows so much better in this space, with these new little changes they've made, both script wise and physically. I didn't check my watch once, and the 110 minutes FLEW by. At the Public, I remember wandering during the scenes before "Ring Of Keys," but this time I was so purely drawn in and engrossed.
I don't think there is anything negative to say about this production. Except for the fact that it doesn't immediately start over after the curtain call.
Thanks to all who have shared for taking the time to write such thorough reviews.
And I kinda don't mind that Al For Short was cut. It was the weakest song, imo.
Yes, as mentioned earlier in the thread (by me) Al for Short is gone. And I thought the same way....did I miss it? But nope, it's just gone.
"Al For Short" is the one song I consistently skip when I'm listening to the cast recording. I didn't miss it one bit.
What I meant was, in retrospect, when I was listening the the recording I thought perhaps I missed it in the performance, like I zoned out during it. I did not miss its existence.
It's a cute song...but letting Ring of Keys be the true discovery of self makes for an even more powerful moment. I agree that it's not a loss.
I really need to stop reading this thread- since the lottery is really the only affordable way for me to see this at the moment, I don't know when I'm gonna get there but I'm dying to.
Then again, I did just get my tax refund...
I've never been to the Circle in the Square. Do the $75 seats (400) offer a decent view?
Broadway Legend Joined: 5/11/04
Thanks, all, for your optimal seating recommendations.
I think the 400s should be fine...though there were a few moments that I thought they'd be getting a lot of back. But I don't know if that's necessarily true. And there is one pivotal moment I'd actually love to view from the 400 sections.
I sat in the 400s and thought the view was fantastic!
^ There ya go!
SPOILER
I loved the view I had of Bruce being hit by the truck...but I bet the 400 view is chilling as well.
SPOILER
Yes, Robbie, it really was chilling. I'm having a bit of a visceral reaction just thinking about it now. The "Telephone Wire" sequence was also particularly stunning and I almost felt like I was in the backseat of the car with them (or in the car next to them)
Presently back up on TDF — two dates this week.
*Mild spoilers regarding set*
I sat in the front row (Row A), seat 211 and would sit there again. The seat is right behind the couch in the beginning and some parts of the show, but the blocking is so nicely done it doesn't really get in the way of enjoying the story.
There are also scenes where there is a single chair in front of you which could potentially get in the way if there's anything happening "upstage" (towards the orchestra), but again, the action is flowing enough to prevent it from being a real blocker for extended periods of time.
The seat is absolutely fantastic for those seeking intimacy. Some scenes take place right in front of you and I found myself constantly sitting further back in my seat for the fear of tripping the actors.
**MAJOR SPOILERS**
The one thing that you lose being so close to the action are the cool floor lighting and trap door effects. One such scene involves all the trap doors giving away during Edges of the World - an amazing visual effect - which I imagine would have been easier to see if you were sitting further back and thus higher in elevation. I still enjoyed this a lot, but it's harder to see when you're down on the floor.
***
Whatever the case, it doesn't seem like there's any real problem seats in the house. Like many have mentioned before me, the blocking is really well done that no one direction has superiority when it comes to enjoying the show.
I can't help thinking about this show!!!
We saw the show last night--first time, but we'd had listened to cast recording--it was breathtaking and heartbreaking! We sat in the 200s, midsection to the left. They did such a great job giving everyone a view of the action, but Sonofrobie--I wondered how some people might be blocked by that door!
I would think there us a minimum of people affected by the door, and it is there so infrequently that it effects so little.
Where's the door situated? In front of the 100's section?
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