Anyone attending one of the first previews later this week? Very curious to hear how the experience is, especially if some of you have seen different iterations of the show.
Very curious about this one. I am holding off on buying tickets until I read different seating reports on here. If you go, please share where you sit and what the experience is.
"There’s nothing quite like the power and the passion of Broadway music. "
I"m sure the show has its fans. I'm definitely not one of them and have no plans to see it. I saw it at the Public. To me, it was a typical Alex Timbers show. Lots of flash, not much substance, lots of predictable moments. It just seems that's what Alex does. There's no subtlety to his work.
Jumpin_J said: "I"m sure the show has its fans. I'm definitely not one of them and have no plans to see it. I saw it at the Public. To me, it was a typical Alex Timbers show. Lots of flash, not much substance, lots of predictable moments. It just seems that's what Alex does. There's no subtlety to his work."
I remember how excited I was for Timbers as a director when Peter and the Starcatcher came out.
How naive I was...
Listen, I don't take my clothes off for anyone, even if it is "artistic". - JANICE
Eh. I love Timbers. I think he makes event theater. Beetlejuice felt like an event with the preshow set up. Rocky was just gorgeous to watch - the show itself eh - but the direction was awesome. Starcatcher wasn’t my thing. But this seems like something different for Broadway which I love.
For a show with such big ambitions, I've been a bit surprised whenever I've looked at tickets to see that they are only on sale through November. Producers don't seem too confident in their own product.
I just feel like this is going to flop. Hard. They barely squeaked by on their post-Public commercial run, and the show has been out of the public eye for several years. Given what a massive undertaking the set is, and now the additional cost of paying live musicians (which I’m sure they didn’t anticipate or budget), this has to be a huge hit to recoup and word of mouth has never been that crazy for it. It has its fans, I’m sure, but - as someone who didn’t know the show/see the OG production and listened to the OCR - I have no interest in seeing this. One of the most unappealing scores I’ve ever heard.
Markecib said: "Anyone go to the invited dress last night?"
My friends told me invited dress rehearsal was supposed to be tomorrow afternoon but was changed to tomorrow evening. Besides, my understanding is it’s common courtesy to wait until after first preview (not after invited dress) to talk about the show publicly.
ColorTheHours048 said: "I just feel like this is going to flop. Hard. They barely squeaked by on their post-Public commercial run, and the show has been out of the public eye for several years. Given what a massive undertaking the set is, and now the additional cost of paying live musicians (which I’m sure they didn’t anticipate or budget), this has to be a huge hit to recoup and word of mouth has never been that crazy for it. It has its fans, I’m sure, but - as someone who didn’t know the show/see the OG production and listened to the OCR - I have no interest in seeing this. One of the most unappealing scores I’ve ever heard."
I’ll admit this reminds me of what happened to KPOP last fall. I enjoyed both musicals when I saw them off-Broadway (Here Lies Love back in 2013 and KPOP back in 2017.) I still hope it succeeds though.
Word of mouth back in 2013 was crazy! I recall it was sold out at the Public and it extended more than once due to popularity.
Wick3 said: "Markecib said: "Anyone go to the invited dress last night?"
My friends told me invited dress rehearsal was supposed to be tomorrow afternoon but was changed to tomorrow evening. Besides, my understanding is it’s common courtesy to wait until after first preview (not after invited dress) to talk about the show publicly."
There are some Instagram posts from people who saw a dress last night, maybe there is more than one. I was more interested in the setup than thoughts on the show as those will come this weekend.
chrishuyen said: "Any word on if they're doing rush/lottery? I imagine they'd probably have floor tickets in the mix for those."
I was talking to a friend about this recently. I think the experience of EVERYONE in the theatre will be lessened by a painfully undersold floor section. It'll just make it awkward. They would be foolish to not send leftover floor tickets to rush, lottery, and TKTS.
I would hope if floor seats are sold via TKTS that ticket buyers are told this before purchasing. Nothing worse than an elderly person or handicap person buying a floor seat to this show and not being made aware of it.
A Chorus Line revival played its final Broadway performance on August 17, 2008. The tour played its final performance on August 21, 2011. A new non-equity tour started in October 2012 played its final performance on March 23, 2013. Another non-equity tour launched on January 20, 2018. The tour ended its US run in Kansas City and then toured throughout Japan August & September 2018.
A decade after a critically acclaimed Off-Broadway run, the hottest nightclub in New York City launches on 53rd Street, as the EDM musical Here Lies Love begins previews tomorrow night (June 17) before a July 20 opening at the newly reimagined Broadway Theatre. The cast — the first such all-Filipino group on Broadway — is led by Arielle Jacobs, Jose Llana, and Conrad Ricamora; Tony winner Lea Salonga will join the company from July 11 through August 13 for a special guest engagement. Here Lies Love is based on a concept by Talking Heads frontman David Byrne; the music is by Byrne and DJ Fatboy Slim, with lyrics also by Byrne. Annie-B Parson choreographs, and Alex Timbers directs.
“Here Lies Love is a groundbreaking musical about former Filipina First Lady Imelda Marcos’s astonishing rise to power and subsequent fall at the hands of the Philippine People Power Revolution. From the minds of David Byrne and Fatboy Slim, Here Lies Love has been called ‘ingenious’ by The New York Times and ‘an ecstatic and dynamic party’ by Time Out New York. Choreographed by Annie-B Parson and developed and directed by Alex Timbers, the theater is transformed into a dance club where the audience is immersed in the story.”