HARMONY previews — Page 3

Boy this show was BAD and just emotionally manipulative.

Certainly, there is a reason it kicked around for 25 years before finally getting to Broadway, shocked that the Times gave this a rave off-broadway.

The first act is boring and filled with very corny humor, the second act is slightly better but the emotional impact is only there because of the real-life story and Chip Zien performance.

I was a blubbering mess at the end of act 2. That’s not to say it’s a perfect show, but it’s deeply effective and the whole is greater than the sum of its parts.

Chip Zien is a national treasure. wish CABARET was happening next season so we could get his Herr Schultz!

I liked the score, even if it’s not top-tier theatre music. B-sides by Alan Menken or Charles Strouse are still better than a lot of stuff these days. “this is our time” and “your son is becoming a singer” are irritating up-tempos. it’s orchestrated with way too much reliance on synths & piano, and only some of the orchestration problems are because of its limited size (9 players).

There are book scenes that are highly eloquent, especially in act 2. And then there are a lot of corny parts, anachronisms, obvious bits, not helped by the direction/delivery at this early stage of previews. With so many principal characters, we are forced to meet & understand them too quickly. Some of the boys’ roles are sooo thinkly sketched, and Benko & Boggess are BARELY characters. Better setup and a little more time in the gang’s early days might make the ending hit even stronger....in this telling, they had an easy time finding success, antisemitism was the only big obstacle. I wish another writer could have taken a pass at some scenes to smooth things out, because the bones are there. it's a rare show where act 2 is stronger than act 1.

Warren Carlyle is still a better choreographer than director. Love the marionette number in act 2. What do others think of the all-mirrors set design?? I have a feeling this one might be divisive......It didn't work for me at all, with exception of highlighting Jules & Peggy's (excellent) lighting at certain moments.

I could see it having a run like BRONX TALE or SOME LIKE IT HOT if they play their cards right. It’s a nice show that deserves to be seen.

Updated On: 10/22/23 at 12:42 AM

I loved this downtown. I liked it last night but something felt off in the first act. Can’t put my finger on it. And thankfully they cut Zien as Marlena Dietrich!

Jarethan said: "I saw it on Thursday and I do not remember a coup de theatre moment at the end, although I thought the end was well done. What are you referring to??"

I wouldn't call it "coup de theatre," but

Re: mirrors -- I should also note I was in the front of the mezz and not directly in the center. So I wonder if they hit differently from center orch.

The mirrored set is an audacious choice, and at a minimum I respect Carlyle and Boritt for at least taking a risk.

Updated On: 10/22/23 at 01:00 PM

ErmengardeStopSniveling said: "Jarethan said: "I saw it on Thursday and I do not remember a coup de theatre moment at the end, although I thought the end was well done. What are you referring to??"

I wouldn't call it "coup de theatre," but

Re: mirrors -- I should also note I was in the front of the mezz and not directly in the center. So I wonder if they hit differently from center orch.

The mirrored set is an audacious choice, and at a minimum I respect Carlyle and Boritt for at least taking a risk."

I liked the mirrored set; however, I do remember thinking that it was a little too close to the mirror in Cabaret. Given that they were focused on the same period, it seemed a little copycat, even if the use was expanded.

ErmengardeStopSniveling said: "Yes, it feels like they are trying to emulate what CABARET did (SLAVE PLAY also did it), except here it somehow feels both heavy-handed but thematically less relevant. But on a whole I feel like this show has more in common with SOUND OF MUSIC than with CABARET."

Don't laugh, but I saw a production of Sound of Music in Sarasota -- I had to be dragged -- that was directed by Josh Rhodes; it was really dark in the last 20 minutes or so. I am really hoping he does something with Spamalot that gets him some personal recognition, because he also did a Cabaret a couple of years ago that was -- and I am dead serious here -- as good as the original or the Mendes production, with the best ending of the three.

BETTY22 said: "What a great phrase - 'coup de theatre.'I'm going to borrow this. Totally describes Harmony.

I can't remember the last time a show stuck with me this long. I can't stop thinking about it.

Just don’t overuse it. There is no coup de theatre in Harmony. I am struggling to remember the last true one I saw.

ErmengardeStopSniveling said: "Jarethan said: "BETTY22 said: "What a great phrase - 'coup de theatre.'I'm going to borrow this. Totally describes Harmony. I can't remember the last time a show stuck with me this long. I can't stop thinking about it.
Just don’t overuse it. There is no coup de theatre in Harmony. I am struggling to remember the last true one I saw."


The living room set reveal & switch to naturalism in A STRANGE LOOP?

I would not define the exits in Jamie Lloyd's DOLL'S HOUSE and Sher's MY FAIR LADY as such, even if that's what the directors wantedto achieve :) The phrase was a favorite of Hal Prince, and he cited examples in CABARET, FOLLIES, EVITA, and PHANTOM, but maybe even he stretched the definition. It's semantics......to each their own. HARMONY's ending is more of a steady build throughout the second act.

I do think there's one in another new work I saw this weekend, in Martin Scorsese's KILLERS OF THE FLOWER MOON (spoilers in this link)."

Funny you mention Harold Prince, because I had considered suggesting the scene in Phantom where the candleholders came out of the floor (major goosebumps the first time I saw it), and the transition to Loveland in the original production of Follies. I also thought there was one in his production of Show Boat, where he staged the passage of time almost cinematically. There was magic.

I know a lot of people didn't like the show, but I would argue that Sylvia's death scene in Finding Neverland involved a real coup de theatre. It came out of nowhere and again created for me real magic. Finally, during the overture of the South Pacific revival, when the stage rolled back to highlight the orchestra.

For me there was nothing in Harmony that came close to the magic inherent in those stagings. They really don't happen often.

ErmengardeStopSniveling said: "Jarethan said: "BETTY22 said: "What a great phrase - 'coup de theatre.'I'm going to borrow this. Totally describes Harmony. I can't remember the last time a show stuck with me this long. I can't stop thinking about it.
Just don’t overuse it. There is no coup de theatre in Harmony. I am struggling to remember the last true one I saw."


The living room set reveal & switch to naturalism in A STRANGE LOOP?

I would not define the exits in Jamie Lloyd's DOLL'S HOUSE and Sher's MY FAIR LADY as such, even if that's what the directors wantedto achieve :) The phrase was a favorite of Hal Prince, and he cited examples in CABARET, FOLLIES, EVITA, and PHANTOM, but maybe even he stretched the definition. It's semantics......to each their own. HARMONY's ending is more of a steady build throughout the second act.

I do think there's one in another new work I saw this weekend, in Martin Scorsese's KILLERS OF THE FLOWER MOON (spoilers in this link)."

You're so right about THAT scene in the Scorsese film. Simply brilliant. I can't even remember the ending of MFL, so have to assume I"d agree. I do think, however, the ending of Lloyd's Doll's House absolutely qualifies, especially if you don't know it's coming. And that's one problem with so-called coups de theatre these days. With social media it's so hard to keep extraordinary moments under wrap, and they do lose their impact somewhat if you know they're coming.

This is not a success except for it's ability to give so many young performers their Bwy debuts.

A marketing dilemma is the Contemp. pic & the name 'Harmony' & Barry Manilows name which could lead audiences to think they are going to a jukebox musical of his songs?

The audience never learns what made this group 'the best entertainers' because we never see any of their actual routines/sketches/comedic style. The first time we see them go over big is when they improvised something because their costumes had not arrived in time? The bass doesn't really have the low sound that he is proported to have. Music Mans barbershop offered better harmony sounds. "Every Single Day" is a pretty terrific passionate song. It's funny, she says she'll not marry him & then he sings that song & then without any further dialogue she just completely comes over to his side because of that song. The number with the water onto the emcee was excessive & poorly explained. The Marionette # may go down as one of the worst catastrophes/bomb of a # from a bad show. I loved the red silk in the fan #. The mirrors around the proscenium were distracting a number a times when they picked up reflections that aren't supposed to mean anything in the story.

A good try with a score that proved Manilow's ability to write show music that sound unique - but I disagree with those who are raving about the book. I found that to be one of this projects fatal flaws.

My apologies if this has already been asked and answered, but I'm about to buy tickets and had a question about views. As a general rule, I like to be in the orchestra section up close to the stage, unless there's something particular about the show that makes that a bad idea (e.g., a lot of action taking place on a second level, lots of projections, etc.).

I purposely haven't been reading about this show because I don't want any spoilers. But can anyone comment on whether there's any reason to be farther back?

FWIW, I looked at the photos on A View from My Seat and Seat Plan. For Peter Pan Goes Wrong, I think that a close seat looked fine. However, another show appears to have had a more elevated set. That's why I'm wondering if anyone can comment on how it is for Harmony.

Thank you!

Updated On: 10/23/23 at 08:31 PM

sparklingtonic2 said: "My apologies if this has already been asked and answered, but I'm about to buy tickets and had a question about views. As a general rule, I like to be in the orchestra section up close to the stage, unless there's something particular about the show that makes that a bad idea (e.g., a lot of action taking place on a second level, lots of projections, etc.).

I purposely haven't been reading about this show because I don't want any spoilers. But can anyone comment on whether there's any reason to be farther back?

FWIW, I looked at the photos on A View from My Seat and Seat Plan. For Peter Pan Goes Wrong, I think that a close seat looked fine. However, another show appears to have had a more elevated set. That's why I'm wondering if anyone can comment on how it is for Harmony.

Thank you!"

Instagram is also a good resource to check out for pics, and the stage doesn't look high for Harmony:

forgetmenotnyc said: "This is not a success except for it's ability to give so many young performers their Bwy debuts.

A marketing dilemma is the Contemp. pic & the name 'Harmony' & Barry Manilows name which could lead audiences to think they are going to a jukebox musical of his songs?

The audience never learns what made this group 'the best entertainers' because we never see any of their actual routines/sketches/comedic style. The first time we see them go over big is when they improvised something because their costumes had not arrived in time? The bass doesn't really have the low sound that he is proported to have. Music Mans barbershop offered better harmony sounds. "Every Single Day" is a pretty terrific passionate song. It's funny, she says she'll not marry him & then he sings that song & then without any further dialogue she just completely comes over to his side because of that song. The number with the water onto the emcee was excessive & poorly explained. The Marionette # may go down as one of the worst catastrophes/bomb of a # from a bad show. I loved the red silk in the fan #. The mirrors around the proscenium were distracting a number a times when they picked up reflections that aren't supposed to mean anything in the story.

A good try with a score that proved Manilow's ability to write show music that sound unique - but I disagree with those who are raving about the book. I found that to be one of this projects fatal flaws."


All the ads for Harmony are very clear that the show is based on a true story about the Comedian Harmonists so I don’t think most people will expect a jukebox musical.


I found the water on the emcee during “How Can I Serve You Madam” to be hilarious. I couldn’t stop laughing. I think the group was getting back at him because of why they didn’t have their own clothes.


The marionette number, “Come To The Fatherland” is brilliant. Not sure if you understood the message they were conveying. The group was told they were ambassadors to Germany and this song was their way of expressing how they really felt about that. You should really listen to the lyrics again.