If/Then Previews — Page 10

I went last night and I agree with what others have said: it's nothing to rave about, but it's great to see an original story with original music on Broadway these days.

I'll try and be brief: I didn't like the set. After looking through the designer's credits I realized I actually don't like any of his work. I thought the set was very bland, generic and sterile...

...which is exactly what I could say about every character in this story. Not a single performer had a fleshed out character. They all seemed to be playing symbols or themes and I really didn't care about any of them because I never got a sense of who they were. Of everyone, Anthony Rapp had the most nuance and depth. Idina was fine in voice but I didn't care for her acting. She seemed a bit lost throughout the evening. Blame it on previews?

I find it interesting to see people on this post relating this piece to Sondheim's early work. In the middle of the second act I thought something similar. I realized I couldn't hum a single tune from the show (except for maybe Anthony Rapp's first act solo about the island of Manhattan). All of the songs seem to blend together. I imagine it would be tough for the actors to keep up with any changes as everything sounds the same! I remember reading a similar criticism about Sondheim's work. Maybe in time people will come to regard this as a great score, but last night I couldn't connect with it.

Idina's final solo felt forced to me. It seemed the creative team knew that after 2.5 hours of rambling they needed a big finish with Idina belting a final note in front of flashing lights. The audience did eat it up but that's because it's what they had been expecting and waiting for all along.

On the plus side, I was very pleased to see such a racially and physically diverse cast. This went a long way in reflecting the population of NYC. The creative and casting team should be praised for going outside the standard white skin, big teeth, gleaming hair, six pack abs of most Broadway shows.

To wrap this up: despite the many issues I had with this show, I was happy to support it and pay full price. I'm still convinced that audiences want original stories and original music. As theater lovers (I assume most on this board are) we should be supporting this piece as much as possible to help convince investors to continue supporting new work! :)

Thank you for your post oasisjeff regarding the book. I think that you're completely right that the crux of the show isn't about deciding between career vs family for all of the reasons you listed (and this was one of my biggest fear going in).

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I have a friend that went tonight and said the show went great. Apparently Idina used note cards during the opening number, and she said the number was very clear and had a lot of exposition.

No matter what happens, I just think it is really amazing that they are taking the opportunity to change things! Good for them.

I saw this today with the Idina Menzel fan club. I kid, but while I don't think this role is irreplaceable, I wouldn't be surprised if they are able to sell tickets for quite some time on Idina Menzel's name alone. And she lived up to all the hype. I've always been indifferent towards Menzel, but she gave a fantastic performance.

In the past few days I've seen Bridges, Gentlemen's Guide, and Bullets. I also saw Big Fish last fall. If I were giving out Tonys tomorrow, I'd give one to Menzel for Best Actress and If/Then for Best New Musical and Best Score.

It's not a perfect show (and they're clearly still fixing it), but I loved it. The new opening song set everything up really well. Thanks to that song, despite being slightly confused at moments (there were some really fast switches in Act 1), I was never confused by the concept or the story lines playing out.

The show was also surprisingly funny. I found it funnier than both Bullets and Gentlemen's Guide. The cast landed nearly every joke.

Anthony Rapp and LaChanze were wonderful and added so much. Some of their songs were my favorites. The guy playing Josh had a nice voice...but zero charisma. (I kept thinking Liz would be so bored in that life.) The set didn't bother me, but the choreography was odd at times. Some random dancing occurred.

The score was great. Best new original score I've heard in awhile. There were some moments in a few of the songs that were perfect. One of Menzel's songs in Act 2 can be cut, but I can't wait to buy the OBCR.

Overall, the show kept reminding me a little of (a modern day version of) Rent with its diverse cast figuring out love, life and heartache in NYC.

Idina performed the opening song with cue cards in hand this afternoon.

I think it's actually pretty cool to be able to see previews and how they work things out (regarding the note cards). Everyone is different, and it takes different things to help people remember lines and such. The process fascinates me! I'm glad to be hearing all of these positive reviews. I saw it twice in D.C. (the first day and the second to last day). I ate it up then, but the more time that has gone by, the less I remember about it and the more I realize that the characters didn't have that depth in them that I always crave. I love that it's original, I love that everyone sounds and looks fantastic, but Ir early wish they would have delved into their characters more. I'm really interested to see how everything holds up when spring and summer comes and goes and "Idina's fan club" has had their share, so to speak.

I can't say I agree with Menzel getting the best actress (I saw Bridges and I just can't get Kelli O'Hara out of my mind), but I wouldn't be surprised if she did either! I'm torn about going to see this when it's frozen, since there are so many other shows I want to see. For now I will just soak up all of your guys' reviews!

Charliebrown5 - I totally agree with you about Snyder. He definitely failed in charisma with me and failed most of the time to get my attention. He's the least underwhelming character for me (which is how I felt about Pasquale in Bridges the entire first act, but he made it up in the second).

There was a new topic started by Stickit 'shocked' by the use of cue cards--it created heated debate but seems to have disappeared--very sensible.

Saw it this weekend, and it's definitely not for me; I felt I was watching an episode of a TV show about the Dawson's Creek kids 10 years later. Someone in front of us said, "It's kinda like that show Company, isn't it?" I wanted to say, "only if the characters in Company were dull.

That said, the Menzel fans were only intermittently annoyingly over-enthusiastic, and clearly were getting everything they wanted.

"That said, the Menzel fans were only intermittently annoyingly over-enthusiastic, and clearly were getting everything they wanted."

I'm glad you didn't let other people's joy further dampen your mood.

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I don't think they do that to draw attention to themselves, but because they are just that excited to see her in person. That only tends to happen on her entrance (where it doesn't changing the pacing of the show for anyone except the person with whom she's on the phone) and after Always Starting Over (where she earns every clap).

Then again, I've been to One Direction concerts, which would make anything happening at If/Then seem comatose.

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I'm not one to scream personally but I LOVE entrance applause and think it adds a lot of atmosphere to the show. There is nothing worse than seeing a show with a 50% full audience who isn't engaged (se: Chicago). The only problem I have is when people start to clap/scream over singing (I've never understood why if people enjoy someone belting a note so much that they'd want to clap over it so they can't hear it anymore).

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qolbinau, I blame American Idol, X Factor etc for all that ridiculous clapping screaming when someone goes for a high note. They even scream in SYTYCD when there is a lift or slide. Audiences are encourged to be as noisy as they can be and now that behaviour is being carried over into the theatre. It is so disruptive.

Entrance applause are great. They have been around for years (hell, Peters got one in "Into the Woods" and no one is complaining about that).
I think going to a performance where the audience is extremely ecstatic to be there and applaud loudly after a song is amazing. It heightens the mood of everything. I don't understand people on here who kind of want a humble applause after each song. I know that giving a very healthy applause after a song is different from going bat#$*@ crazy DURING a song.

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