"On Broadway, Ali is so excited by her piano lessons that she sings a song not heard in “Hell’s Kitchen” at the Public Theater. The new song is titled “Kaleidoscope,” and I had to look up the lyrics because they are undecipherable when performed in the Shubert Theatre. Here’s a sample: “Kaleido-leido-leido-leido-leido-leidoscope/Everyone looking high and low, oh yet, oh no/You’re movin’, movin’, movin’, movin’ way too slow/I think I got that antidote, oh yea, oh no, huh.”"
That’s weird. I’m 99.99% sure Kaleidoscope was in the show at The Public…
Really puzzling to me how so many of the reviews mention them fixing the show since the Public run, but a week ago when I went, the show seemed virtually unchanged.
InTheBathroom1 said: "Really puzzling to me how so many of the reviews mention them fixing the show since the Public run, but a week ago when I went, the show seemed virtually unchanged.
Unless I missed something. Is it just me?"
It's not just you. I have multi friends that saw it at both and have said the same thing that it's the same show that didn't change a single thing critics knocked it on the first time.
"“Hell’s Kitchen,” the coming-of-age musical about a 17-year-old piano prodigy named Ali, has wonderful new and old tunes by the 16-time Grammy Award winner and a talented cast, but only a sliver of a very safe story that tries to seem more consequential than it is.
It wants to be authentic and gritty — a remarkable number of swear words are used, including 19 f-bombs — for what ultimately is a portrait of a young, talented woman living on the 42nd floor of a doorman building in Manhattan who relearns to love her protective mom.
...
That Keys is a knockout songwriter, there is no doubt. That playwright Kristoffer Diaz is able to make a convincing, relatable rom-com that’s also socially conscious is very much in doubt."
Huh. I was not expecting this good of a response, strictly based on WOM from people here. Interesting...
If we're not having fun, then why are we doing it?
These are DISCUSSION boards, not mutual admiration boards. Discussion only occurs when we are willing to hear what others are thinking, regardless of whether it is alignment to our own thoughts.
Jordan Catalano said: "I really hope Kecia Lewis can get herself a featured actress nomination for this."
Kecia Lewis and Maleah Joi Moon could both win, if they're campaigned well. Haven't seen it on Broadway yet, but I loved the show at the Public, and I'm glad to see the positive reactions.
I don't remember the last season in which there has been this much of a dichotomy between my thoughts and the critics' thoughts. I saw this Off-Broadway and thought it was truly terrible. For this and Water for Elephants to get critic's pick seals but for Suffs not to... To each their own, I guess.
"There’s nothing quite like the power and the passion of Broadway music. "
Mostly the same, slightly more positive off-Broadway than on. Vulture went from positive to mixed. NT Stage Review went from one positive, one mixed to two mixed.
CoffeeBreak said: "Odd BroadwayWorld accumulative reviews page and DidTheyLikeIt don't include the AP review as it will be around most of the US papers."
True!
AP News Theater Review: Not everyone will be ‘Fallin’ over Alicia Keys’ Broadway musical ‘Hell’s Kitchen’
Robbie2 said: "CoffeeBreak said: "Odd BroadwayWorld accumulative reviews page and DidTheyLikeIt don't include the AP review as it will be around most of the US papers."
True!
AP News Theater Review: Not everyone will be ‘Fallin’ over Alicia Keys’ Broadway musical ‘Hell’s Kitchen’
David Gordon's tweet reminds me of Harvey Fierstein's eloquent explanation for how Jerry Mitchell turned KINKY BOOTS around in early previews out-of-town. Without big textual or structural changes, he refocused and calibrated the performances, scenes and musical numbers to entertain while moving the story forward and putting character first.
That's not enough for EVERY show, but it certainly helps some shows.
ErmengardeStopSniveling said: "David Gordon's tweet reminds me of Harvey Fierstein's eloquent explanation for how Jerry Mitchell turned KINKY BOOTS around in early previews out-of-town. Without big textual or structural changes, he refocused and calibrated the performances, scenesand musical numbers to entertain while moving the story forward and putting character first.
That's not enough for EVERY show, but it certainly helps some shows."
Exactly this. The HK team smartly leaned into what was so enjoyable about the off-Broadway production (the performances, the choreography, and the music) and it's all the better for it uptown.
Conversely, the SUFFS team, rewrites and all, seemingly doubled-down on what made it a bit of a slog off-Broadway and...here we are.
Does anyone know about how Maleah Joi Moon's attendance has been? I saw the show and she was out last week and honestly I'm very mad because I heard she was the best thing about the show. Planning to go again next week but scared she's gonna be out again.