Posted: 4/2/17 at 11:15pm
But DP; Those were usually started by her ex husband ; Charles Lowe, who was always in attendance.
Updated On: 4/3/17 at 11:15 PM
Posted: 4/3/17 at 3:26am
The ORIGINAL production got five standing ovations? Um, no, it did not. It got no standing ovations until the end of the show, and even then it wasn't all the time. I saw the original production many, many times - on Broadway and the first national and subsequent tours - maybe twenty to thirty times. At not ONE of those productions was there a standing ovation during the show at any time in any theater. There were a handful at the end of the show, but not always. It wasn't like it is today back then - not ever, not at all. There were no shrieking banshees in the audiences, woo-hooing everything like they were watching an episode of American Idol. Yes, the title song brought down the house at every performance - mucho cheering and bravoing that went on endlessly until the built in encore.
Now, the last revival was a different story and yes Charles Lowe was in attendance at every performance and yes he led each standing ovation - it was embarrassing and sickening, actually.
Posted: 4/3/17 at 7:56am
Charles actually hired two men (one was a friend of mine) to lead the standing ovation from opposite sides of the orchestra seats in the 1995 production. I don't know if Charles also led the ovation.
Posted: 4/3/17 at 8:07am
I'm intrigued by the posters concerned that Creel is taking some kind of career step-down with this role. He's a stage actor. He's a terrific team player (from "Millie" through "Hair" and to a certain extent, "BOM", which spreads its big moments around.) He's a musical theater star in his 40s, and he wisely takes great roles in A-list productions. This is no come-down; it's coveted, with Midler at the top, and he's as lucky to have it as the show is lucky to have him. This topic often comes up, and before they recast the Groban role in "Comet," a number of posters rejected countless b'way vets supposedly because they wouldn't deign to replace someone. Folks, it's a business. Stage actors need salaries to pay rent and every other bill. A long career on the NY stage is a gift, not taken for granted by even the very best.
Posted: 4/3/17 at 8:16am
I know it will have been answered before, but its 22 pages long. Is Bette due to stay with the show till its listed close date in Jan?
Its sadly the only time I can get back to New York and still some amazing tickets for the last couple of weeks, and will buy now if Bette is due to stay.
Thanks for the help
Posted: 4/3/17 at 9:30am
Posted: 4/3/17 at 10:44am
Not exactly shocking considering top ticket is $750... But hooray for DOLLY! Love that show :)
Posted: 4/3/17 at 11:41am
The original production usually got 5 standing ovulation: when Carol stepped off the trolley, at the end of the parade, when Carol appeared at the top of the stairs, at the end of the title number, and at curtain calls.
Posted: 4/3/17 at 11:45am
DAME said: "But DP; Those were usually started by her ex husband ; Charles Lowe, who was always in attendance.
--------------------
Or me. Yes, there were times when Charles couldn't attend and other were given the task of filling in for him. I did it one and Patrick Wilson admits to doing it another time.
"
Posted: 4/3/17 at 12:24pm
Dollypop said: "DAME said: "But DP; Those were usually started by her ex husband ; Charles Lowe, who was always in attendance.
--------------------
Or me. Yes, there were times when Charles couldn't attend and other were given the task of filling in for him. I did it one and Patrick Wilson admits to doing it another time."
"
So they were illegitimate standing ovations. Equalled to those obnoxious people that hoot and holler on cue because they have seen the show before . They usually are not in sync with the rest of the audience and quite annoying. The performance of Dolly I attended two Fridays ago had none of that. Sure people were all jazzed up because of Bette. But it was real. The 3 ovations were all organic. Coming from a real audience with a real response.
Posted: 4/3/17 at 12:40pm
BroadwayConcierge said: "Holy crap.
https://www.broadwayworld.com/article/Holy-Cabooses-HELLO-DOLLY-Shatters-Shubert-Theatre-House-Record-In-Just-7-Performances-20170403
"
This show will easily gross $2 million a week once it goes to 8 shows/weeks in June.
Posted: 4/3/17 at 2:58pm
bk said: " There were no shrieking banshees in the audiences, woo-hooing everything like they were watching an episode of American Idol.
That REALLY pisses me off and so does an audience clapping along to the music when the cast is taking a bow. I feel the individual misses out on the [hopefully] increase in 'clap volume' each time another appears.
In this case, play Hello Dolly when Bette appears, but leave the others to unmusical bows.
An observation from other musicals, not seen Dolly
"
Posted: 4/3/17 at 3:21pm
bk said: "The ORIGINAL production got five standing ovations? Um, no, it did not. It got no standing ovations until the end of the show, and even then it wasn't all the time. I saw the original production many, many times - on Broadway and the first national and subsequent tours - maybe twenty to thirty times. At not ONE of those productions was there a standing ovation during the show at any time in any theater. There were a handful at the end of the show, but not always. It wasn't like it is today back then - not ever, not at all. There were no shrieking banshees in the audiences, woo-hooing everything like they were watching an episode of American Idol. Yes, the title song brought down the house at every performance - mucho cheering and bravoing that went on endlessly until the built in encore.
Now, the last revival was a different story and yes Charles Lowe was in attendance at every performance and yes he led each standing ovation - it was embarrassing and sickening, actually.
I agree with everything you said. I saw every Dolly in the original except Phyllis Diller and the only one who got a SO was Ethel Merman at the curtain call; and she got it for what I referred to as the 'Broadway legend obligatory SO'...she didn't get it because she was better than the other Dollys. Truth be told, Carol Channing, Ginger Rogers and Pearl Bailey were all better than her.
With two very unique exceptions, I never heard of a SO during a show until, maybe, the big number in Aladdin, which paled in contrast to many, many production numbers of years past, e.g., Hello Dolly, Mame, A New Argentina, Now's the Time from Hallelujah Baby, The Party's On The House from Half a Sixpence, Not on Your Nellie, etc., that didn't get SOs.
I do remember my hands hurting from applauding...that hasn't happened to in many years, since there is no point with the SO and random yelping. I usually just stand there -- having been forced out of my seat so I can see the curtain call -- and applaud politely.
I know I sound like an old fart, but it used to mean something...now, it is a joke.
PS -- The only time I ever saw a SO during the show was (1) closing night of Gypsy in 1975, when Angela Lansbury finished Rose's Turn (never saw it at any of the other 5 performances during the 15 week run); and during I am Telling You I Am Not Going, which was truly spontaneous on the part of audience e members and almost like an old fashioned revival meeting in its fervor.
Posted: 4/3/17 at 3:39pm
I have to say, Miss Midler's last Friday's night performance deserved a standing O at the end of the title number, I think it was two fold, one for just being her and two, an homage to the show itself; it was a moment!
Posted: 4/3/17 at 5:11pm
I saw the show this past Saturday and I don't have much to add to what has been said. The quality of the performances is really something else. Obviously the material is strong--this show is a classic for a reason--but I think we'll see a lot of acting nominees for this show ala Hamilton last year. DHP surprised me the most--he's so talented, but I thought he was too stiff and just not right for Horace Vandergelder, but he adjusts perfectly.
Gavin Creel is doing some of the best I've ever seen him and this might be his year. I still need to see a few more shows (and will this week) before I can say I've seen all options, but I'm hard pressed to name anyone who was better.
Posted: 4/3/17 at 5:32pm
oncemorewithfeeling2 said: "Gavin Creel is doing some of the best I've ever seen him and this might be his year."
Without winning an award, all he would get is a year of doing Hello Dolly with Bette and this phenomenal cast in front of adoring crowds, so he really needs this Tony!
Posted: 4/3/17 at 8:27pm
Has anyone seen this from the extreme far side of the orchestra? I have the last seat on Row M, number 28. They didn't release these seats until a couple weeks ago, which makes me worry about them.
Posted: 4/3/17 at 8:43pm
The view is generally fine. The Shubert does have a narrow stage but I sat in rear orchestra (S26) and could see basically everything.
I must agree that the amount of carrying on that some audience members did whenever Bette opened her mouth the night I went was excessive and seemed more about simply carrying on rather than any real affection for Ms. M. Because the excessive screaming drowned out some laugh lines,
Posted: 4/3/17 at 9:10pm
Has anyone sat in the box seats in that theater? They just released a few for next week.
Posted: 4/3/17 at 9:27pm
one of my favourite things when I was at the performance was when they play the title song in the overture and HUGE applause broke out, some people who I think have never heard it before looked confused to why people are applauding. And when the title number comes, it was the most magical moment of my theatre going. The audience reacts to every line but it felt very genuine. The biggest applause I think was for the line "look at the old girl now fellas"
P/S I know she's 96 y.o now but I really hope Carol Channing can be there on opening night or even better get on that stage where she belongs once more time.
Posted: 4/3/17 at 9:29pm
I would be more excited if Jerry Herman makes it.
Posted: 4/4/17 at 1:31am
I love reading all of the praise being lavished on this production. Honest question: Is this production an absolute MUST SEE regardless of one's personal taste in shows? I'm more of a contemporary musical fan and not too familiar with Bette's body of work (don't dislike her, just not very knowledgeable, though I did enjoy her in I'll Eat You Last). I have seen the Hello, Dolly! film and while I enjoyed it, it's not really my cup of tea. Is this still worth paying StubHub prices for rear balcony seats just to be in the room or is it more suited for fans of Ms. Midler and the show? I appreciate your input.
Updated On: 4/4/17 at 01:31 AM
Posted: 4/4/17 at 1:39am
Dollypop said: "The original production usually got 5 standing ovulation: when Carol stepped off the trolley, at the end of the parade, when Carol appeared at the top of the stairs, at the end of the title number, and at curtain calls.
"
No, no, and no, and no amount of you posting this makes it correct. Did you even SEE the original production - doubtful. You've been corrected by me and by one other so really just stop posting this nonsense, UNLESS you're talking about the 1995 tour, which is a whole other ball of wax.
Posted: 4/4/17 at 1:39am
I would say no. I was in the same boat as you regarding my lack of familiarity with the show and Bette's work. I kept my expectation somewhat reasonable, and while the show was fun, I wasn't completely mesmerized by Bette. The energy in the audience with all the anticipation seemed to overwhelm Bette's presence somewhat.
If you don't have an unlimited budget, I'd wait to see one of Donna's performances for a more reasonable price.
