HEAD OVER HEELS Previews- Page 4

[WhizzerMarvin]

Posted: 6/26/18 at 12:21am

Mad About You is still in the show. 

 

[CukorLover]

Posted: 6/26/18 at 12:24am

WhizzerMarvin said: "Coasterking, It’s true that Heaven Is a Place on Earth is NOT strictly a Go-Go’s song, but I guess any song performed collectively by the Go-Go’s or later by Carlisle was up for grabs.

Hi CukorLover! I’ve really considered flying out to Chicago if I could find a cheap flight out there for a day, but I’ve been traveling a lot as it is and don’t know if I can fit it into my schedule :/ I’m Stephanie J. Block fan, so I wish it well and hope it can avoid some of the usual bio-musical pitfalls. I do find it very refreshing that Cher gave that interview saying the show needed work- even though she wasn’t supposed to say that, ha. Good for her! Tell it like it is. That’s what an out of town try-out is for. Being self-aware is half the battle. Have you seen it?"

No, I haven't! I won't have the chance to see it during its Chicago run. I was hoping you were going (I know you're a SJB fan), as I usually agree with your assessments of  early previews. The reports from Chicago are all over the place as the show is trying to find its footing. I imagine they'll continue to work on it even after this weeks opening in prep for Broadway. It has a pretty hefty price tag attached so the creatives and producers will surely do their best.

I wish it well too--as I'm a big Cher fan myself.

 

[uncageg]

Posted: 6/26/18 at 12:33am

Whizzer, I always wait for your thoughts. Most of us do.

In reading your thoughts on this show, the New World Stages comment caught my eye. Why single them out? It is an off-Broadway house. The shows that have moved there from Broadway, of course have nice sets but of the things i have seen there, there have been some beautiful sets.

[WhizzerMarvin]

Posted: 6/26/18 at 12:45am

I’m a Cher fan too. I saw one of her farewell tours and it was just amazing. I have a DVD (maybe an HBO special) for a different incarnation of the tour than I saw, and I remember watching it over and over until I had all the staging memorized. The way she descended the staircase singing “The Way of Love” sent me to the type of gay heaven that Head Over Heels couldn’t dream of reaching. 

Reading the Playbill, I just realized that Spencer Liff doesn’t list his most important credit: Cry-Baby! During “Vacation” I saw shades of “Girl Can I Kiss You With Tongue?” 

I saw Spencer Liff in this off-Broadway (maybe Fringe?) show at the Minetta Lane called Far Out. It also starred Nick Adams. The set was falling down- like it literally hit some actors on the head- and it was more than a bit of a mess, but it was fun and I still remember it all these years later. It was probably also like $10 to attend. Likewise, when Charles Busch puts on his wonderful plays, themselves often spoofs of other genres, they cost like $20 down at the Theater for the New City. 

Venue does matter and sometimes these shows want to have their cake and eat it too. If you’re too critical than you’re accused of being a snob. “Head Over Heels isn’t supposed to be analyzed like Company or Follies,” they might say. “It’s a silly spoof, so turn off your brain and just have fun.” (Oh and btw, tickets are like $169- i.e. we value our product at $169.) I realize it’s the producers who set ticket prices and not the creative team or the actors, but all parties must be aware of the mixed signals they send ticket buyers. 

[charityhopevalentine2]

Posted: 6/26/18 at 12:52am

WhizzerMarvin said: "York is given nothing to do. The women doesn’t even have a solo! For show that has gay men on the creative team and proudly celebrates queerness in many ways, to forget to assign your a diva a show-stopping solo is unforgivable!"

Agreed. Rachel kills it in "This Old Feeling" but it's not enough and leaves you wanting more of her.

[charityhopevalentine2]

Posted: 6/26/18 at 12:54am

"Cool Jerk" needs to be cut. Act 1 is too long.

[WhizzerMarvin]

Posted: 6/26/18 at 12:55am

uncageg said: "Whizzer, I always wait for your thoughts. Most of us do.

In reading your thoughts on this show, the New World Stages comment caught my eye. Why single them out? It is an off-Broadway house. The shows that have moved there from Broadway, of course have nice sets but of the things i have seen there, there have been some beautiful sets."

uncageg, I didn’t mean to imply that New World Stages shows have bad sets- I’ve seen plenty of nice sets there too! What I meant is the feel of Head Over Heels could fit in with a certain type of show that plays NWS. They often book that Great American Trailer Park/Evil Dead/Toxic Avenger (great set!)/Rock of Ages strain of show that you wouldn’t find at Playwrights or 2nd Stage or The Public or The Vineyard. Head Over Heels would fit right in with that line-up and my expectations for the show would then line up accordingly. 

I saw Toxic Avenger several times, but I don’t think it would have played well in a Broadway house and I certainly don’t think it would be worth current Broadway ticket prices. It’s not that I don’t think small shows deserve to be on Broadway- Next to Normal, Fun Home and The Band’s Visit are all proof that it can work beautifully- but sometimes a smaller, rag tag campy show like Disaster or Head Over Heels just feels better in a “grittier” venue. 

[uncageg]

Posted: 6/26/18 at 1:05am

Gotcha!

[bear88]

Posted: 6/26/18 at 1:11am

WhizzerMarvin,

As someone who saw it twice in San Francisco and enjoyed the musical despite its flaws, I think your observation about expectations is spot-on. While I enjoyed the show more than you did, it was pretty easy to overlook the flaws when I was paying $25 a ticket - and being surprised I liked it so much. It didn't hurt that my wife and daughter enjoyed it even more.

I don't remember the show being 2 1/2 hours. Does anyone who saw it in San Francisco remember the length? I thought it was more like 2 hours and 15 minutes.

Updated On: 6/26/18 at 01:11 AM

[Sho-Tunes-R-Us]

Posted: 6/26/18 at 1:35am

bear88 said: "WhizzerMarvin,

As someone who saw it twice in San Francisco and enjoyed the musicaldespite its flaws, I think your observation about expectations is spot-on. While I enjoyed the show more than you did, itwas pretty easy to overlook the flaws when I was paying $25 a ticket - and being surprised I liked it as much as I did.It didn't hurt that my wife and daughter enjoyed it even more.

I don't remember the show being 2 1/2 hours. Does anyone who saw it in San Francisco remember the length? I thought it was more like 2 hours and 15 minutes."

Agree about SF.  Just about 2 hrs. 15 mins. 

It looks as if Peppermint's drab drag is still in the show.  It was nowhere near as faaaabulous as it should have been IMHO.

[antonijan]

Posted: 6/26/18 at 2:23am

So how is Samantha's take on the role different from Alexandra's?

[A Director]

Posted: 6/26/18 at 3:35am

The first and biggest mistake was firing Jeff Whitty.  In his version, there was a character, Philanax, the royal fool who was the heart and soul of the show.  In his version, the songs were not shoehorned in.  In his version, the show was not overly camp.

[VotePeron]

Posted: 6/26/18 at 8:31am

Still thinking about it this morning. Mainly, the fact I wish a producer would give this committed, talented & outstanding cast a show that even remotely deserves an audience.

Trust me, i enjoyed it fine, but it is not good by any stretch of the imagination. It just doesn’t work. The Shakespearean dialogue mixed with the Go-Gos music never feels like a heightened or styled choice, it just feels like they’re forcing a playlist onto it. Also, if there was ever a show that should not have an intermission, it’s this one.

The set design is very 2nd non-equity tour chic, but the choreo and lights are awesome. And like I said, can’t sing the praises for this cast enough. But yikes.

I can’t imagine this will be around past September. But then again, -someone- paid for it to get here in the first place. It’ll bring a smile to everyone who sees it. But at Broadway prices, that’s all they’ll get, and that’s not enough.

[WhizzerMarvin]

Posted: 6/26/18 at 8:51am

PThespian, As far as the book calling for a solo goes, they could have made the book say whatever they wanted- and they did! Did the book really scream out for Mopsa to go to the island of Lesbos just so she could “Vacation?” That’s about as inorganic as it comes to shoehorning a song into the plot of a jukebox musical.

And there was more than enough fodder in the book to give York three solos, let alone one. She was a queen who felt scorned and ignored by her husband, who lied to her and had a roving eye. She herself was experiencing a sexual re-awakening and had to decide whether she would act on her urges outside her marriage. Any composer writing an original score would have explored all of these ideas in (solo) song for a supposed-leading lady.

A Director, is it public knowledge that Whitty was fired? He’s the only one credited with writing the book...

[newintown]

Posted: 6/26/18 at 8:57am

I don't think there was ever a press release about the firing of Whitty, but the credits do state "Book adapted by James Magruder" (who has also been doing interviews since the west coast previews). And Whitty has been pretty vocal on social media about his dismissal.

[WhizzerMarvin]

Posted: 6/26/18 at 9:17am

Thanks, newintown. I wasn’t doubting the claim, just curious as I hadn’t been following the out of town closely enough to have heard about the writing change.

James Magruder is only listed as “adaptor” and his credits mention his adaptations of Molière, Lesage, etc. I assumed he had helped with adapting some of the Greek myths that show up in the show, but if he was adapting Whitty’s original book, I guess that makes more sense.

[newintown]

Posted: 6/26/18 at 9:54am

The "evolution" seems to be this: Whitty was asked to write a show using the Go-Go's catalog (asked by whom is not clear). He had been interested in Philip Sydney's Arcadia, and he adapted that work to the songs. That original show was produced at Oregon Shakespeare Festival, about which Isherwood wrote in The Times, "...the book is deliciously witty, bawdy and full of loopy appeal — and written mostly in skillfully wrought iambic pentameter yet. But the songs, nominally the selling point, are mostly revealed to be thin compositions that not only do little to enhance the story but also aren’t especially fun to listen to in reorchestrated, less peppy or poppy versions."

So, when Paltrow, Leitch, et.al. bought the work, of course they fired the person responsible for the well-received work and kept the garbage, because that's the kind of decision newbie producers make. And they brought in Magruder (who has only written one musical - the flop Triumph of Love) to "adapt" Whitty's adaptation.

It seems pretty clear that Whitty's agent brokered a good deal for him, guaranteeing that he retains book credit (and, I imagine, a percentage of the royalties, should any exist), and that Magruder only be credited as adapting Whitty's work.

Updated On: 6/26/18 at 09:54 AM

[Famebroadway2]

Posted: 6/26/18 at 9:55am

RippedMan said: "So this is like a go-to-happy-hour before kind of show."

 

I had a $16 glass of Rosé at intermission and it made Act 2 MUCH BETTER!  

[Kad]

Posted: 6/26/18 at 9:55am

A Director said: "The first and biggest mistake was firing Jeff Whitty. In his version, there was a character, Philanax, the royal fool who was the heart and soul of the show. In his version, the songs were not shoehorned in. In his version, the show was not overly camp."

In his version, the runtime was eventually cut *down* to three hours.

[newintown]

Posted: 6/26/18 at 10:04am

Kad wrote: "In his version, the runtime was eventually cut *down* to three hours."

I've heard that three hours was the running time (with intermission) for the first preview. By the second performance, cast members have reported that it was 2 hours 40 minutes (which I agree is far too long for fluff like this, but isn't significantly longer than many Broadway musicals - Mean Girls, for instance, is "officially" 2.5 hours, but the night I saw it, the 7:00 show came down at 9:45, and I was ready to leave at about 8:30).

[skimblcshanks]

Posted: 6/26/18 at 10:49am

antonijan said: "So how is Samantha's take on the role different from Alexandra's?"

The biggest differences I noticed were that she was more in awe of the world as she saw new things (as Philoclea is very sheltered), but also much sassier, especially in act one towards Pamela (her facial expressions before "Beautiful" really stood out to me).

I believe that Alexandra has some family stuff going on, I asked Sam after if she was okay and she said Alex was fine and just "needed some time". So there's that.

As far as the show in general - I saw it twice in SF at the end of the run, and the first two previews in New York. I'll be there again tonight. I love it. As a queer and nonbinary person, it feels like exactly the kind of show Broadway needs right now. Yes, the book needs a little work and there's smaller issues, but personally I can overlook those things for a story that needs telling. At the first preview, I was sat between two older gay couples who knew nothing about it going in, but who were floored by it. It opened up a conversation between us about being trans, which I think is one of the most important things this show does. So I'm grateful for that. Also the cast is top notch! Just amazing.

I agree it's a little long. "Cool Jerk" definitely needs to go, I've been saying this since I saw it in SF. That would help a lot I think. The changes to Turn To You in act 2 make that one really unnecessary as well in my opinion, but that would only help cut down the total runtime, not the length of act 1 which is the real problem I think. Overall, I'm happy with most of the changes, but they do need to do more work before opening. I'm trying to go as frequently as I can throughout previews just to track the changes being made. 

I've been checking in on rush these last few days even though I already had tickets, and I noticed that for the first two previews, tickets went super fast but today at 10:45 they're still available. The show did play to a sold out house last night. Has anyone actually bought rush tickets yet? I have reason to believe that they're front row, since it seems those seats weren't being sold online, but I'm not sure. Anyone have any insight?

[Kad]

Posted: 6/26/18 at 11:07am

I bought a TodayTix rush ticket for tonight. I’ll report when I pick up the ticket this evening.

[veraclaythorne2]

Posted: 6/26/18 at 12:48pm

I was there last night via TDF, and was in Orch Row B. The folks in front of me said they had rushed, and numerous others in the front row chimed in, so it seems that that's where the rush tix are. It's a bit too close, in my opinion, but for the price, I imagine it's worth it. Show was ridiculous, a little long, but we had a blast. 

[greensgreens]

Posted: 6/26/18 at 12:56pm

Saw the first preview. I am so excited about all the potential here. It has a really modern message utilizing some very interesting, disparate parts that, if tightened and massaged more, could be a fascinating combination and breathe new life into the jukebox musical. But, the production needs to make sure the fanfare and buildup moments throughout the show actually deliver to expectation.

The book is riddled with cliches that I think are really working against it. I feel like the goal of this show is to turn expectations and cliches head over heels (see what I did there?). But, if you're aspiring to be something new and fresh and unlike anything else, then go for the gold, don't continue to pander to the lowest common denominator! The biggest laugh I remember was Peppermint's "thou shalt workest" exit. Funny, but that was a direct rehash of the tagline of RuPaul's Drag U about a decade ago. Isn't there a better joke to be found somewhere? Can't Peppermint be given lines that rise above a cheap novelty drag act?

Each time things built up to an amazing entrance, moment, or something, I was left cold with the delivery of the climax. The cast has some amazing standout performances (Rachel York is, as always, a towering goddess delivering at every turn), but there are some performances that are being unanimously praised that I simply didn't see any magic in whatsoever. I'm hoping this first preview was just that and this show will rise to its' potential and truly be the fresh, interesting, conceptual mashup musical with a truly modern and timely message that it wants to be. I know this cast and creative crew has the talent and ability.

[ilysespieces]

Posted: 6/26/18 at 4:41pm

skimblcshanks said: "antonijan said: "So how is Samantha's take on the role different from Alexandra's?"

The biggest differences I noticed were that she was more in awe of the world as she saw new things (as Philoclea is very sheltered), but also much sassier, especially in act one towards Pamela (her facial expressions before "Beautiful" really stood out to me).

I believe that Alexandra has some family stuff going on, I asked Sam after if she was okay and she said Alex was fine and just "needed some time". So there's that.

As far as the show in general - I saw it twice in SF at the end of the run, and the first two previews in New York. I'll be there again tonight. I love it. As a queer and nonbinary person, it feels like exactly the kind of show Broadway needs right now. Yes, the book needs a little work and there's smaller issues, but personally I can overlook those things for a story that needs telling. At the first preview, I was sat between two older gay couples who knew nothing about it going in, but who were floored by it. It opened up a conversation between us about being trans, which I think is one of the most important things this show does. So I'm grateful for that. Also the cast is top notch! Just amazing.

I agree it's a little long. "Cool Jerk" definitely needs to go, I've been saying this since I saw it in SF. That would help a lot I think. The changes to Turn To You in act 2 make that one really unnecessary as well in my opinion, but that would only help cut down the total runtime, not the length of act 1 which is the real problem I think. Overall, I'm happy with most of the changes, but they do need to do more work before opening. I'm trying to go as frequently as I can throughout previews just to track the changes being made.

I've been checking in on rush these last few days even though I already had tickets, and I noticed that for the first two previews, ticketswent super fast but today at 10:45 they're still available. The show did play to a sold out house last night. Has anyone actually bought rush tickets yet? I have reason to believe that they're front row, since it seems those seats weren't being sold online, but I'm not sure. Anyone have any insight?"

I was there last night thanks to the Today Tix rush, decided I wanted to go at like 9:58am and refreshed back and forth until it hit 10 and bought them asap. I got first row, seat 111. Definitely had to turn my head side to side a bunch but the view was perfect. I don't think I missed anything, save a tiny portion of Peppermint's face when the stage was slightly obscured by the sheet/curtain. I went home after work because I left my glasses at home (and you don't know where rush/lottery seats are going to be unless they specifically tell you) but when I got there I sent my husband a picture to show just how little I needed them. 

 

I really enjoyed myself, a lot more than I expected from how negative people have been (both here and in another Broadway forum). It was a bit long, but the costumes were amazing and the show was pretty funny. Especially Pamela, she was my favorite part of the whole show.