GUYS & DOLLS, SPIDER WOMAN & Block in SUNSET BLVD at the Kennedy Center — Page 11

There was absolutely nothing about this production that says “concert”. If having musicians onstage means it’s a concert than I loved the concert version of “Kimberly Akimbo” playing now.

Updated On: 2/6/23 at 12:01 PM

Jordan Catalano said: "There was absolutely nothing about this production that says “concert”. If having musicians onstage means it’s a concert than I loved the concert version of “Kimberly Akimbo” playing now."

IKR. I wanted to include Waitress in my example lol.

This was amazing. And the BWW interview and preview videos that some criticized are what sold me on seeing it and I'm so glad I did. They're a glimpse into early rehearsals to something that evolves amazingly in such a short period of time. And for those that thought they did a disservice to marketing, it looks like the run was near completely sold out (aside from the final matinee performance this Wednesday that shows plenty of availability). I hadn't seen any productions of Sunset before including the film and this was a big hit for me, both for this production and the show overall. I liked a lot of the music I wasn't familiar with.

As someone pointed out, these are no longer "concert" performances. The program started out as such, but evolved. The first one I saw was Music Man in 2019 with Norm Lewis and Jessie Mueller when it was still "concert" but imperceivably. Except in one instance Lewis missed a line then asked to start from the top, reminding everyone it was a concert version and winning the crowd over and he then used the script once or twice after. But it was so polished at that point that it made sense to up the ante and remove the concert asterisk.

There are so many great things about these productions. One is the ability to book stars that would not be able to do a longer run. Another is the orchestra, this was an 18 pieces from the KC house orchestra and they sound wonderful. I remember that was one thing SJB pointed out in the interview. It's one thing to work on these things in a practice studio. It really blossoms once you're out there with the full orchestra. And it is fun to have the orchestra on stage and the set working around them even if it limits the options for the set.

These are done at the KC's Eisenhower Theater which necessitates the orchestra being on stage because there is no pit and I don't think the 18 pieces cannot be put backstage like at Broadway houses that have no pit. That's another great thing about these productions. Not only are they premium quality, but they are in the Eisenhower. Most big touring productions that come to town are in the KC Opera House which I think swallows up theatrical productions. Plus its a touring cast, not the broadway cast (except for rare instances like Into the Woods where it's closed in NY and stars are in the touring company).

““These are done at the KC's Eisenhower Theater which necessitates the orchestra being on stage because there is no pit and I don't think the 18 pieces cannot be put backstage like at Broadway houses that have no pit.”


interesting. I’m curious how this worked when Wicked played the Eisenhower a few years back. It was a tight squeeze even without the orchestra logistics

Caught this over the weekend, and I'm sorry to say it didn't work for me. The performances were outstanding, but the direction was really a miss.

Making Norma's breakdown more relaxed and realistic would work if they were in a different story, but they weren't. Joe's relationship with Norma seemed more consensual than I've ever seen in a way that didn't emphasize how they were USING each other... and made it hard to understand why he wanted to be with Betty. Norma's last scene didn't feel earned. The scene during the entracte where Norma and Joe were fooling around almost made me laugh, it felt like it missed the point so much.

I also have never seen a professional production where the conductor ignored the vocalists so much. It really seemed like he wasn't paying attention to them at all.

Again, the performances were brilliant (SJB and Derek Klena were excellent and well worth the ticket just to hear them perform this music). I just think they were guided by a director who was trying to make the show something it isn't. I'm all for new interpretations, but this just wanted to be a different show.

Updated On: 2/6/23 at 02:04 PM

R. GreenFinch said: "I also have never seen a professional production where the conductor ignored the vocalists so much. It really seemed like he wasn't paying attention to them at all."

Should the conductor be following the vocalists or should the vocalists be taking the lead from the conductor?

BroadwayNYC2 said: "““These are done at the KC's Eisenhower Theater which necessitates the orchestra being on stage because there is no pit and I don't think the 18 pieces cannot be put backstage like at Broadway houses that have no pit.”


interesting. I’m curious how this worked when Wicked played the Eisenhower a few years back. It was a tight squeeze even without the orchestra logistics"

When did Wicked play the Eisenhower? Having performed there myself, I just don’t see how that would be possible. It’s such an intimate space compared to most touring houses.

01. Wicked has never played the Eisenhower. Every time it comes to the area it has been the Opera House, since 2005.


02. The 2017 revival of Sunset Boulevard was transferred from the English National Opera, which promoted it as a “semi-staged” production, not a concert. However I understand how the two can be mixed up, since Encores runs in a similar fashion of the Kennedy Center.

Valentina3 said: "Lol, that's such a deliberate misreading of GreenFinch's comment. It IS the conductor's responsibility is to listen to and pay attention to cues from stage and keep the performers and orchestra in harmony. It doesn't mean they're taking their lead from the vocalists. They are both in this together."

I was genuinely asking. I’ve never been sure who follows who, if it’s more symbiotic, or if each conductor has their own expectations.

WithoutATrace said: "I saw both Follies and Ragtime at the Kennedy Center, pre-Broadway and unless my memory is failing me, I would swear they both played at the Eisenhower."

You are correct. This press release about the casting confirms it was at the Eisenhower (at least for Follies anyway).

Updated On: 2/6/23 at 08:11 PM

Valentina3 said: "BroadwayNYC2 said: "“ Jorge it's not a concert. It's being marketed as a fully staged production.“

the BCS series is literally marketed as a semi-staged concert series. That info is readily available."

The KCH Sunset Boulevard page does not mention the word concert once. I'm not trying to be a pill here, but the marketing you're referring to is either misleading, or dishonest. The words "fully staged" is from the page I linked above, so it is literally being marketed as a fully staged production. Anyone who actually watched the show and understands how these designations work can also confirm that there is nothing semi-staged about this production. It is fully staged, with complete costumes, extensive props, backdrops (via projections)."

Interestingly, the Kiss of the Spider Woman page has "semi-staged" instead of "fully-staged" in that same description of Broadway Center Stage productions.

Updated On: 2/7/23 at 10:48 PM

RunnyBabbit said: "I listened to the whole cast recording with Glenn Close on the way home (drove back to Philly, long ride) and you can hear the breakdown developing throughout the album."

Even though Glenn isn’t the best sung Norma it’s still an incredible album. It’s nearly the entire show so you can listen like a radio play, and Glenn’s performance is such that it’s easy to imagine exactly what she must have been doing on stage even without the visuals. I also enjoy the Canadian cast recording with Diahann Carroll and Rex Smith but unfortunately it’s only highlights.

Updated On: 2/7/23 at 04:07 AM