UWS10023 said: "I really don’t like (when I sit-up high) looking at tape marks on the stage. I know why they are there, but I wonder if there are other tricks that can be done to make them less noticeable."
The only real solution is full automation to track the sets on and off. And then you'll see some grooves in the stage. This being a very limited run and a concert staging, automation would be both impractical and cost-prohibitive. But even the biggest-budgeted shows use spike marks to some extent. I've heard similar complaints about numbers on the downstage part of the stage deck, which are vital for choreography and hitting your marks (but usually aren't very noticeable to the general viewer)
These are the perils of sitting upstairs. Sometimes the lighting and dance numbers look better upstairs, but you're farther away and can see the full stage deck. I've learned to ignore the spike marks.
It does seem like there's a middle ground here, though, where spike marks are noticeable to the cast/crew but not as noticeable to the audience.
I also tend to think that the floor is a deceptively important part of any scenic design that often goes overlooked: a well-integrated floor design can really make or break the believability of a scenic design IMO. I'm always in favor of a good floor design, so in that sense, I agree that it would've been nice for them to add those touches.
But I also feel like this production is already so far removed from trying to convey a real-life forest, that it maybe doesn't matter too much if those touches of realism are missing. I'm sort of ambivalent about this, but it seems to me that audiences should go into this knowing that you're paying for the cast and the material (and maybe the puppetry, lol), and that it wouldn't have been able to transfer to Broadway if not for the conservative finances.
I agree that the stage deck can be a crucial element to some designs, but ultimately the most important element is getting actors and sets in the right spot, safely and accurately. Sometimes those things can be cleaned up as a run goes on, sometimes not.
And in the case of this WOODS, nothing is being done literally.
Not trying to be "that guy," but I do feel it sucks that they included the puppet but not Kennedy Kanagawa. I know he is not famous in the way they are, but neither is the cow - the only reason its so prominent to this revival is because of the work he does with it. Just feels a bit of a shame to have a nod to it without recognizing the reason it's there.
For anyone that is familiar with Patina’s performance at the Hollywood Bowl and now Broadway, has it changed at all?
"You can't overrate Bernadette Peters. She is such a genius. There's a moment in "Too Many Mornings" and Bernadette doing 'I wore green the last time' - It's a voice that is just already given up - it is so sorrowful. Tragic. You can see from that moment the show is going to be headed into such dark territory and it hinges on this tiny throwaway moment of the voice." - Ben Brantley (2022)
"Bernadette's whole, stunning performance [as Rose in Gypsy] galvanized the actors capable of letting loose with her. Bernadette's Rose did take its rightful place, but too late, and unseen by too many who should have seen it" Arthur Laurents (2009)
"Sondheim's own favorite star performances? [Bernadette] Peters in ''Sunday in the Park,'' Lansbury in ''Sweeney Todd'' and ''obviously, Ethel was thrilling in 'Gypsy.'' Nytimes, 2000
VotePeron said: "Not trying to be "that guy," but I do feel it sucks that they included the puppet but not Kennedy Kanagawa. I know he is not famous in the way they are, but neither is the cow - the only reason its so prominent to this revival is because of the work he does with it. Just feels a bit of a shame to have a nod to it without recognizing the reason it's there."
Agreed, or at least styled Milky White in Christian Siriano.
Agreed. She looked stunning in her playful ball gown during the performance. She won me over. So endearing and funny! And such a lovely voice.I had no idea that she had such a famous husband! Have fun googling if you do not know who it is. I also did not realize I had seen her in Shining Girls on Apple TV. I am her newest fan! I was even watching her in all of the ensemble numbers. Such a delight! Love all the Vanity Fair pictures!
ErmengardeStopSniveling said: "UWS10023 said: "Ireally don’t like (when I sit-up high) looking at tape marks on the stage. I know why they are there, but I wonder if there are other tricks that can be done to make them less noticeable."
The only real solution is full automation to track the sets on and off. And then you'll see some grooves in the stage. This being a very limited run and a concert staging, automation would be both impractical and cost-prohibitive. But even the biggest-budgeted shows use spike marks to some extent. I've heard similar complaints about numbers on the downstage part of the stage deck, which are vital for choreography and hitting your marks (but usually aren't very noticeable to the general viewer)
These are the perils of sitting upstairs. Sometimes the lighting and dance numbers look better upstairs, but you're farther away and can see the full stage deck. I've learned to ignore the spike marks."
Given I only paid 39 dollars for the balcony seat I did not feel all that cheated. I was happy with the seat.To the director’s credit the staging which was the same at City Center, was mindful of the entire house. When you sit that far up you do not get a full view of the scrim or actors moving across the upstage platform but there again I had seen it at City Center. It is quite a climb to get up to the balcony (no elevator) in that theatre. I am assuming there is a fire exit that is different from the narrow stairs we slowly went down after the production had ended. I just did not pay attention. Does anyone know?
Don't judge me, but I listened to a recording of Patina's Last Midnight from the first preview and it gave me chills! I am more than excited to see this tomorrow! God, I hope they do a cast recording!
The idea is to work and to experiment. Some things will be creatively successful, some things will succeed at the box office, and some things will only - which is the biggest only - teach you things that see the future. And they're probably as valuable as any of your successes. -Harold Prince
Oh Lord, NO! After reading his NYT piece, I really wanted to see him! Darn!
The idea is to work and to experiment. Some things will be creatively successful, some things will succeed at the box office, and some things will only - which is the biggest only - teach you things that see the future. And they're probably as valuable as any of your successes. -Harold Prince
The idea is to work and to experiment. Some things will be creatively successful, some things will succeed at the box office, and some things will only - which is the biggest only - teach you things that see the future. And they're probably as valuable as any of your successes. -Harold Prince