"Honeymoon in Vegas" Preview Thread — Page 2
#28
Posted: 11/18/14 at 10:07pm
delete
Updated On: 11/18/14 at 10:07 PM
#30
Posted: 11/18/14 at 10:45pm
I just got home, and while I have some qualms, I have to say that I'm on cloud 9 and bursting with toe-tapping melodies. JRB has done it again, but this time in a Cy Coleman mold; coming off the heels of his ravishing score for Bridges, this effort is all the more impressive.
First though, it must be noted they actually decided to ADAPT the film for the stage rather than just cut and paste song into the film script. This is basically the anti-Rocky approach. That musical tried so hard to throw in any line of dialogue, scene or bit of imagery from the film in an attempt to create a thrill akin to finding Waldo when they spotted a reference. Honeymoon in Vegas is just the opposite. The general story is there, but almost no dialogue is lifted from the film, all the gags- funny or otherwise- have been newly created, and most importantly, all the ick and misogyny (a major problem in the film) have been jettisoned by some smart book changes.
SJP is almost like a battered wife in the movie. The way she's traded about and denied any agency. You never feel she has a chance to fall in love with Caan, and who would want to anyway? He's a disgusting pig.
Danza is suave and stylish. He's a smooth operator, but there's also something genuine and melancholy underneath his slick exterior. I guess this is SPOILER since it's different from the film, so...
*****
Betsy is the one who proposes that she and Tommy impulsively rush back to Vegas to get married instead of Tommy basically forcing her into marriage by threat of physical abuse. Tommy is manipulative, but much less so than in the film. Betsy honestly starts to fall for him, or at least be charmed by him as she offered such a nice alternative, even if it's momentary. He's really her moment in the woods- she has an and then it's back to or and DOES make the or mean more than it did before!
*****
Danza isn't the greatest singer, but JRB is smartly tailored all the songs to show him in the best light. He gets some jazzy, very City of Angels type numbers, plus a real showstopper in act two.
I liked Rob McClure more than I've liked him before. He's funny and fresh. Brynn O'Malley was rather stifled in the Annie revival, but she gets to let loose here and I was impressed. She's got some Laura Benanti qualities, and had the setting not been moved to the present I'm sure she would have unintentional evoked The Wedding Singer.
While the book does fix the misogyny aspect, it is sometimes light on the laughs/finds a chuckle instead of a belly laugh. The show is always pleasant, but the hearty laughs come in fits and spurts.
The score is the true star and yes they are selling the OBCR in the theater already; no iTunes for me! This is going right on the shelf between High Spirits and House of Flowers!
One thing I hate is generic lyrics and JRB always impresses me with his character and/or situation specific lyrics.
The only song I was left wanting for was a Dirty Rotten Scoundrels number for Rob and Tony.
The set is a little sparse and sadly projections are often used in favor of actual physical pieces, but at least you can rationalize that it is Vegas (and Hawaii), and these places are both overrun with tacky tourists and especially Vegas has a trashy, chintzy side to it.
The orchestra is a delight.
Of the five Broadway musical offerings so far this season, this is by far my favorite.
First though, it must be noted they actually decided to ADAPT the film for the stage rather than just cut and paste song into the film script. This is basically the anti-Rocky approach. That musical tried so hard to throw in any line of dialogue, scene or bit of imagery from the film in an attempt to create a thrill akin to finding Waldo when they spotted a reference. Honeymoon in Vegas is just the opposite. The general story is there, but almost no dialogue is lifted from the film, all the gags- funny or otherwise- have been newly created, and most importantly, all the ick and misogyny (a major problem in the film) have been jettisoned by some smart book changes.
SJP is almost like a battered wife in the movie. The way she's traded about and denied any agency. You never feel she has a chance to fall in love with Caan, and who would want to anyway? He's a disgusting pig.
Danza is suave and stylish. He's a smooth operator, but there's also something genuine and melancholy underneath his slick exterior. I guess this is SPOILER since it's different from the film, so...
*****
Betsy is the one who proposes that she and Tommy impulsively rush back to Vegas to get married instead of Tommy basically forcing her into marriage by threat of physical abuse. Tommy is manipulative, but much less so than in the film. Betsy honestly starts to fall for him, or at least be charmed by him as she offered such a nice alternative, even if it's momentary. He's really her moment in the woods- she has an and then it's back to or and DOES make the or mean more than it did before!
*****
Danza isn't the greatest singer, but JRB is smartly tailored all the songs to show him in the best light. He gets some jazzy, very City of Angels type numbers, plus a real showstopper in act two.
I liked Rob McClure more than I've liked him before. He's funny and fresh. Brynn O'Malley was rather stifled in the Annie revival, but she gets to let loose here and I was impressed. She's got some Laura Benanti qualities, and had the setting not been moved to the present I'm sure she would have unintentional evoked The Wedding Singer.
While the book does fix the misogyny aspect, it is sometimes light on the laughs/finds a chuckle instead of a belly laugh. The show is always pleasant, but the hearty laughs come in fits and spurts.
The score is the true star and yes they are selling the OBCR in the theater already; no iTunes for me! This is going right on the shelf between High Spirits and House of Flowers!
One thing I hate is generic lyrics and JRB always impresses me with his character and/or situation specific lyrics.
The only song I was left wanting for was a Dirty Rotten Scoundrels number for Rob and Tony.
The set is a little sparse and sadly projections are often used in favor of actual physical pieces, but at least you can rationalize that it is Vegas (and Hawaii), and these places are both overrun with tacky tourists and especially Vegas has a trashy, chintzy side to it.
The orchestra is a delight.
Of the five Broadway musical offerings so far this season, this is by far my favorite.
Marie: Don't be in such a hurry about that pretty little chippy in Frisco.
Tony: Eh, she's a no chip!
#31
Posted: 11/18/14 at 10:46pm
How are the far side orchestra seats? Thanks!
#32
Posted: 11/18/14 at 10:48pm
It's a total blast.
Besides the typical first preview hiccups and hang ups, this is a throwback to musical comedies of yesteryear. In a couple weeks, it'll be running like a well-oiled machine.
Three utterly charming lead performances, a killer score, swift direction, a zippy pace, and a well-adapted (if never quite consistently hilarious) book all make for one of the most pleasant movie-musical adaptations in a while. And a genuinely fun night out that you don't have to feel guilty about enjoying.
Besides the typical first preview hiccups and hang ups, this is a throwback to musical comedies of yesteryear. In a couple weeks, it'll be running like a well-oiled machine.
Three utterly charming lead performances, a killer score, swift direction, a zippy pace, and a well-adapted (if never quite consistently hilarious) book all make for one of the most pleasant movie-musical adaptations in a while. And a genuinely fun night out that you don't have to feel guilty about enjoying.
Updated On: 11/18/14 at 10:48 PM
#33
Posted: 11/18/14 at 10:49pm
I was sitting in the front mezz (on tdf).
Marie: Don't be in such a hurry about that pretty little chippy in Frisco.
Tony: Eh, she's a no chip!
#35
Posted: 11/18/14 at 10:53pm
She's hysterical. Her part is expanded from the film and her entrance is a clever bit of stagecraft.
Marie: Don't be in such a hurry about that pretty little chippy in Frisco.
Tony: Eh, she's a no chip!
#36
Posted: 11/18/14 at 10:54pm
ahh so excited to see this! Thanks for (another) great first night review!
#38
Posted: 11/18/14 at 10:55pm
Thanks for the first preview reports! Sounds like I may have to catch this in the spring!
"There’s nothing quite like the power and the passion of Broadway music. "
#40
Posted: 11/18/14 at 10:59pm
For some reason I've been thinking it was Ted Danson starring in this!
Keeping BroadwayWorld Illustrated
#41
Posted: 11/18/14 at 11:03pm
It started at 7pm, but the intermission went on forever so it's hard to give an accurate runtime. There were lots of little technical problems, so I'm sure once all that gets worked out it will shave even more time off. Maybe it will run around 2:30?
Marie: Don't be in such a hurry about that pretty little chippy in Frisco.
Tony: Eh, she's a no chip!
#42
Posted: 11/18/14 at 11:03pm
It's fun, but somewhat mediocre, perhaps it can be 'pretty good' as it gets tighter.
The more I think about it the more it felt like Bullets Over Broadway. Old timey "classic Broadway" feel, aging rough-around-the-edges celebrity casting, a belting blonde, a young/quirky lead man with a decent voice, an obligatory tap dance number, some gaggy set pieces, some funny tertiary characters, and a plot about accidentally getting involved with a criminal.
Neither show had me rolling in the aisles, but they were fun nights at the theater.
Although JRB's score is way more enjoyable than a 1920's greatest hits album, for my money's worth.
The more I think about it the more it felt like Bullets Over Broadway. Old timey "classic Broadway" feel, aging rough-around-the-edges celebrity casting, a belting blonde, a young/quirky lead man with a decent voice, an obligatory tap dance number, some gaggy set pieces, some funny tertiary characters, and a plot about accidentally getting involved with a criminal.
Neither show had me rolling in the aisles, but they were fun nights at the theater.
Although JRB's score is way more enjoyable than a 1920's greatest hits album, for my money's worth.
Updated On: 11/18/14 at 11:03 PM
#43
Posted: 11/18/14 at 11:36pm
Does anyone who has seen it know it it has gone through serious changes since the Paper Mill's production because that was a dud.
#44
Posted: 11/19/14 at 12:31am
Saw tonight's first preview and was very impressed. I'm not at all a fan of Jason Robert Brown's musical theatre writing, though I loved a lot of 13. This score was in that mold, much less the ersatz-Sondheim and more pure musical comedy. I would give Rob McClure a less passive Act One closer, but other than that the score really swings.
SPOILERS
Even though its stated early on that Danza's character is a con man, it isn't made clear that he cons Rob's character out of his money, an event from which the whole plot springs. I'm guessing they did this so we like and are charmed by Danza's Tommy. Unlike the film, the show wants us to sympathize with this gangster. And for a good portion of the play it sorta works, due to Danza's charisma in the role. But toward the end he reverts back to movie form and this facade falls apart. And then, in a two line reprise, he falls for a waitress the end. His trajectory ends that abruptly. It's totally unsatisfying. Should he be punished for being sorta evil? Eh, it's a musical. I would much prefer if he realized Betsy isn't Donna (his dead wife) by something Betsy says or does, and realizes his error and perhaps is redeemed at the end for somehow finagling the romantic leads' union? Or something. It doesn't really hurt the show, but it sorta does Danza, as he's really terrific up until then, much better than Whizzer is reporting. His tap solo in Act Two is utterly joyous and reaction will only get stronger as the show shapes.
SPOILERS
Even though its stated early on that Danza's character is a con man, it isn't made clear that he cons Rob's character out of his money, an event from which the whole plot springs. I'm guessing they did this so we like and are charmed by Danza's Tommy. Unlike the film, the show wants us to sympathize with this gangster. And for a good portion of the play it sorta works, due to Danza's charisma in the role. But toward the end he reverts back to movie form and this facade falls apart. And then, in a two line reprise, he falls for a waitress the end. His trajectory ends that abruptly. It's totally unsatisfying. Should he be punished for being sorta evil? Eh, it's a musical. I would much prefer if he realized Betsy isn't Donna (his dead wife) by something Betsy says or does, and realizes his error and perhaps is redeemed at the end for somehow finagling the romantic leads' union? Or something. It doesn't really hurt the show, but it sorta does Danza, as he's really terrific up until then, much better than Whizzer is reporting. His tap solo in Act Two is utterly joyous and reaction will only get stronger as the show shapes.
#45
Posted: 11/19/14 at 1:58am
My friend who went tonight said JRB looked like a ghost, absolutely exhausted looking, poor guy.
#46
Thank you so much for the reports, everyone, especially Whizzer, who's always enthusiastic and meticulous. Of course I'm reserving judgment until I hear from After Eight, but this is pretty exciting stuff. Whizzer, I'll also be front mezz. It sounds like that's maybe the best place from which to enjoy this show.
Posted: 11/19/14 at 7:46am
Thank you so much for the reports, everyone, especially Whizzer, who's always enthusiastic and meticulous. Of course I'm reserving judgment until I hear from After Eight, but this is pretty exciting stuff. Whizzer, I'll also be front mezz. It sounds like that's maybe the best place from which to enjoy this show.
CHURCH DOOR TOUCAN GAY MARKETING PUPPIES MUSICAL THEATER STAPLES PERIOD OIL BITCHY SNARK HOLES
#47
Posted: 11/19/14 at 8:01am
Yeah, I thought it played very well from the front mezz. As far as After Eight goes, I know he despises guys crooning as they strum guitars, and Danza does accompany himself on the ukulele during a moonlight serenade to O'Malley so that's one big strike against it for him. :) (Personally, the number had me swooning and it makes no sense that she didn't jump his bones then and there.)
Owen, I did think Danza was great too. My comment about him not being the strongest singer just meant that he's not Brian Stokes Mitchell or Alfred Drake. He doesn't sing poorly at all- it's just a more smokey, sultry voice and he's able to put over his numbers easily with his charisma and good looks.
Owen, I did think Danza was great too. My comment about him not being the strongest singer just meant that he's not Brian Stokes Mitchell or Alfred Drake. He doesn't sing poorly at all- it's just a more smokey, sultry voice and he's able to put over his numbers easily with his charisma and good looks.
Marie: Don't be in such a hurry about that pretty little chippy in Frisco.
Tony: Eh, she's a no chip!
#48
Posted: 11/19/14 at 8:09am
I have front mezzanine tickets for December - gentleman at box office suggested those over rear orchestra. How as the legroom? Better than the rear mezzanine at the Golden, I hope...
Very much looking forward to this.
Very much looking forward to this.
#49
Posted: 11/19/14 at 8:15am
I never much cared for Danza, but I'm rootin' for him. He's 63, decidedly in my demographic, and he looks like he's at the top of his game, fully acknowledging the limitations of said game. He's ideally cast, and this looks like the perfect alchemy of role and performer. So much was made of Mazzie in the Weist role in BULLETS; this seems to be an example of going in the opposite (right) direction. And the VEGAS film probably isn't anyone's favorite, so it seems ripe for re-invention. Thank you, I might even buy a ticket.
"I'm a comedian, but in my spare time, things bother me." Garry Shandling
Updated On: 11/19/14 at 08:15 AM
#50
Posted: 11/19/14 at 8:30am
Sounds like JRB may have his Tony winner for best musical. Congrats!
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