Golden Boy Previews- Page 2

[iluvtheatertrash]

Posted: 11/11/12 at 8:23pm

It's a little bit different here, but yes, it is becoming a sort of signature. It's not quite as drastic as it was in AWAKE AND SING! as this is only the upstage wall (which does return). But the moment is striking.

[cglaid]

Posted: 11/14/12 at 11:28am

I must've seen a different show. Actually, it's really the script I had problems with. Overall, fine performances. Notable mentions to Seth Numrich and Tony Shalhoub - both fantastic in their roles. Seth carried the show convincingly. I was really excited to see Yvonne in this production, and while she did fine for her Broadway debut, she was hit or miss mostly. The second act was her strongest act.

Spoilers below.

However, that said... The transitions, while I get what effect they were going for, carried on way too long and became almost comical. There were gaping plot holes, dropped subplots, and inconsistent characters, most especially Joe's brothers. And the arc between Joe and Lorna was so all over the place starting when Lorna was supposed to "break up" with Moody. If a guy threw money at me like I was a common whore (or tramp, as she referred to herself), and said those despicable things, it should've been game over. Then that scene in Moody's office where the barrage of insults continued, forget it. There was absolutely no motivation for them to then run off together. And then the end was so abrupt, I felt like I was in the car wreck myself. It was completely unfulfilling and actually, almost laughable. I didn't think it accomplished the desired effect, especially with this one brother, who we never saw, nor care about, delivering the news of Joe and Lorna's deaths. One massive cut I would've liked were all the scenes with the other boxer in the dressing room. Since we never saw him again, nor did he and Joe fight, he was completely useless to the story and the show. That could've been an easy 20 minutes of cuts.

[Holster2]

Posted: 11/14/12 at 12:16pm

I cannot wait to see this production. It is such a wonderful play! I can only imagine how great Seth is in this part.

[eperkins]

Posted: 11/14/12 at 12:32pm

cglaid said: "There were gaping plot holes, dropped subplots, and inconsistent characters, most especially Joe's brothers. And the arc between Joe and Lorna was so all over the place."

I think you actually did see a different show than I did. I saw not one plot hole, dropped subplot or inconsistent character. And I had no problem with Joe and Lorna. Perhaps you would like to elaborate on these points?

[Cape Twirl of Doom]

Posted: 11/14/12 at 6:26pm

I didn't think it accomplished the desired effect, especially with this one brother, who we never saw, nor care about, delivering the news of Joe and Lorna's deaths.

I don't think it was the show that had trouble with the plot if you think the brother was a new character that only came in during that final scene...

[eperkins]

Posted: 11/14/12 at 10:11pm

Maybe the bandage on his head threw him off.

[RippedMan]

Posted: 11/15/12 at 12:09am

Cglaid, I kind of agree.

While the production is top-notch, and the performances great - (Seth and Tony are incredible), I thought the show itself was kind of ho-hum. I mean, lots of stuff are told - the brother-in-law wants a cab - but then nothing is really ever resolved.

The brother character was strange. I didn't really see the need for him, and a lot of the other characters that were thrown in. Most of them felt superfluous to the plot.

The girlfriend was awful. Just a bad actress. Maybe the part isn't bad, but with her....eh. In fact, I thought all the women were bad. The sister was bad too. Just felt very amateur and not like a real grounded person.

The transitions need a lot of work. Like Women on the Verge, this show felt over-designed. I felt like they could have staged the show a lot simpler. I hate when we can see stage hands come on and move the scenery around with the actors. Especially with such a big, beautiful production. It just cheapens it. Also, why did the one with scene in the park - with the tree and bench - have to have a stop light? It just kept me thinking "Why are they standing in the middle of the street?" Seemed like an odd design choice.

Also - this is a play thing - I find it amusing when multiple characters leave a room in a huff. Example, when they're all in the office and the reporters leave, then Tokyo, then Joe. I mean, aren't they all going to see each other on the elevator?

[henrikegerman]

Posted: 11/15/12 at 7:30am

Interesting comments. Maybe Odets could step in and offer some rewrites.

[eperkins]

Posted: 11/15/12 at 8:29am

The cab business is resolved. The father says he is not going to buy it, and instead he produces the very expensive violin that he bought for Joe's birthday.

And personally, I liked both actresses very much. The only thing I agree with is the transitions. I like the idea of them, but they took too much time to complete when I saw it. I thought that might be a technical issue and would be cleared up in time. We'll see.

[Movidude742]

Posted: 11/15/12 at 8:53am

The only thing that bothered me about the stoplight was that it was erd in all directions at once, then green in all directions at once.

I wouldn't want to be on that park bench, an accident is definitely going to happen . . . oh wait

[Play Esq.]

Posted: 11/15/12 at 9:20am

"Bartlett has done it again. One of the best directors working today by miles and miles."

I gotta put a big 'ol asterisk right at the end of this sentence, Whizzer: one of the best THEATER directors working today. That sentence I can go along with, but after the travesties that were/are "Les contes d'Hoffmann," "Le comte Ory," and most recently "L'elisir d'amore" at the Met -- his praise as a director MUST contain a caveat.

Updated On: 11/15/12 at 09:20 AM

[RippedMan]

Posted: 11/15/12 at 12:29pm

I wasn't blown away by his direction. I think again, there are some issues with the actual production. The transitions just take too long, and are awkward. During the first park bench scene there was this beautiful movie-esque music and then it just abruptly went into the transition music. Was really jarring and odd.

And in reference to the cab business: No, it's mentioned a few times again. Like when the father returns the $200. She says give it to your brother-in-law for his cab business. Then nothing happens.

[eperkins]

Posted: 11/15/12 at 12:43pm

**********SPOILER*************
The Cab: The father is not buying the cab. Resolved. Brother-in-law leaves message for Joe that the money that he sent to his father could be used for the cab since the father refused it. Joe dies. No cab. Resolved. And I would hardly call the cab business a "plot point."
**********END SPOILER**********

Updated On: 11/15/12 at 12:43 PM

[sinister teashop]

Posted: 11/15/12 at 1:13pm

Re: Odets and rewrites. It's not my favorite Odets play but if you read it, the play moves at breakneck speed. Sher's production slows down and aestheticizes the play. That said, Sher creates a space for his actors to do some very fine character work. But the biggest problem is that though the individual characterizations are strong, and often finely illustrated in both emotional and period detail, they don't connect and cohere enough to create a central combustible conflict and the play fails to come alive. At least that was the case when I saw it.

[eperkins]

Posted: 11/15/12 at 1:24pm

I wonder if the pace will pick up by the time it opens. Or do you feel the pace was purely a directorial choice?

[sinister teashop]

Posted: 11/15/12 at 1:29pm

Hm, pacing is that magical word, right? I don't really believe in it. I think pacing usually means the way information is being communicated from the stage to the audience.

[eperkins]

Posted: 11/15/12 at 3:15pm

If not "pacing," what did you mean by the direction slowing down the play?

[sinister teashop]

Posted: 11/15/12 at 3:25pm

I said the production "slows down and aestheticizes the play". That's not necessarily a pacing issue. You can slow down a musical composition and still make it compelling.

[eperkins]

Posted: 11/15/12 at 3:34pm

I'm just interested in how specifically you felt the play was slowed down.

[RippedMan]

Posted: 11/15/12 at 5:10pm

The transitions def. make it feel choppy. I love design, but I just felt like this whole show was over designed. I mean, before the beginning of ACT 3, the curtain rose and a chair was placed before the curtain. Then the scene comes alive, and no one even uses the chair. So.... why go through all that trouble?

[Plum]

Posted: 11/15/12 at 6:28pm

It was for Imaginary President Obama.

[bobs3]

Posted: 11/15/12 at 7:09pm

Sher is a brilliant director and he has been offered Artistic Director positions at numerous regional non-profits across the country but he has been promised the LCT AD position when Andre Bishop retires. Sher is pretty much given free reign to do whatever he wants at LCT. Bishop is 64 so don't expect him to retire anytime soon but you can't blame Sher for being willing to wait for that huge LCT budget and endowment.

[vegas2]

Posted: 11/15/12 at 7:17pm

How can I get a decent seat for this? For my available dates in early December, Telecharge is only offering rear orchestra or mezzanine. I hope it does well enough to extend so I'll have a better shot at a front orchestra seat for my next trip to NYC.

[bobs3]

Posted: 11/15/12 at 7:22pm

LCT members get first dibs on the "good seats". So don't expect any orchestra seats unless the play extends.

[vegas2]

Posted: 11/15/12 at 9:35pm

Okay, then I hope this will be HUGE hit and extend through February, even if there are some cast changes.