If/Then Previews — Page 8

She does get to sing a bit, and actually has a nice sized role. Her solos are AMAZING, her voice is sick.

I saw it this afternoon with a lottery win. I pretty much thought all the voices (and the orchestra) were particularly strong.

I liked the show more than I thought I would..but it's still a preview and feels like it at times, and my understanding is that the first act is still being fixed. I was able to follow most of it..but I got a little muddled in the middle of act 1, when their seemed to be a 3rd storyline. There wasn't..but I couldn't quite figure out which one those scenes belonged to.

I thought Idina was amazing..and I am not sure I expected that either. And the audience gave her a huge round of applause after her first line..but then settled into a regular audience mode. I think this particular audience was appreciate of a good moment, no matter if it came from Idina or general cast member. But a lot of the material is quiet and personal and Idina does that very well and she was very very touching at times (sitting in the first row did not hurt with emotions and expressions).

I read mixed feelings about this in this thread but I thought the ending was perfect..you saw two versions of her life but then the actual ending is basically a third one so - like in real life, you experience life as it comes..you can't predict what's going to happen.

I would probably like to see it again in a couple of months when the show is set and settled.

This is a huge role for Adina's character. I think she is off stage for maybe 2 minutes during the long first act. The idea of doing this 8 shows a week seems daunting.

So I saw the show for the first time since D.C. last night and I think they've done some really strong work in enhancing the show. The delineation between each storyline is much clearer since D.C., although a few people around me were still confused by intermission.

Noticable changes:
-The opening number seemed different, and the moment in which Elizabeth has to decide between Lucas or Kate is much clearer. The diverging storylines make much more sense thanks to this clarification. It really seems like the creative team almost over-complicated trying to explain the premise in D.C., as they've stripped it back to the bare essentials and restructured a lot of the opening moments.
-"The Story of Jane" is gone and replaced with a song that turns into a quartet, in which all four ladies belt their heads off.
-There was a scene in D.C. where Elizabeth's boss has a heart attack (?) and she's talking to him as he's being pulled around on a stretcher. I believe this moment happened in the "Liz" storyline, but I'm unsure. Anyway, that sequence is gone.
-The sequence where Liz tries to convince Anne and Kate to stay together now takes place in a library as the two are researching the proper divorce protocol. It used to take place in a bar. It also seemed reworked, and there is definitely some singing in that scene now. Don't think there was in D.C.
-"The Moment Explodes" happens later in the second act.
-Some new lyrics in "Always Starting Over."
-If memory serves, there was no turntable in D.C. It works exceptionally well here and is used very minimally, but effectively.

I really thought they did some strong work since D.C. Act Two is still superior to Act One, which is almost impossible to avoid considering how the logistics of the structure needs to be clarified in the first act. The second act is where the characters and storylines really have room to breathe. The set is, obviously, much larger and more elaborate than it was in D.C. And it's still a really stunning design. Idina is doing incredible work...even better than she was in D.C., which I didn't think was possible. I have to throw out a mention to James Snyder, who is managed to get me choked up yet again during "Hey Kid."

I've made a lot of my comments on the score and book in the D.C. thread ( https://forum.broadwayworld.com/readmessage.php?thread=1066247&page=6#4489850 ), so I won't repeat them here. The book is still not as good as the score, which is fantastic. That's not to say that the book is bad, because it isn't. It's definitely been strengthened since out of town.

I'm seeing the show again tomorrow and I will do my best to post some more thoughts then. As it stands though, I still stand by my original statement that IF/THEN is an ambitious, noteworthy, and strong entry in the canon of original musicals.

Updated On: 3/9/14 at 08:23 PM

Was there really?! Wow. If there was, totally my bad. Last night it was most blatantly used during the opening, so maybe I was just too busy trying to focus on the storyline delineation when I saw it in DC. Whoops!

Updated On: 3/8/14 at 08:52 PM

Okay, right...now I remember it being used in D.C. during those scenes for sure. It's used so fluidly, effectively, and minimally that it's hardly noticeable.

I liked him as her boss, he didn't have the best delivery but he was pretty good. Does anyone think they will significantly change any story lines at this point? I think that's why they had the try out out of town, and they have obviously made several changes. I was just curious of anyone's thoughts on this.

I am glad that most of the folks seeing the New York previews seem to be impressed with the show. I saw it in DC and I REALLY want it to be a hit. What a massive amount of energy -- both physical and emotional -- Idina Menzel must put into her performances! Break a leg, Idina, and everyone else in the cast, as well.

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WickedRocks--

**SPOILER**

Is "The Moment Explodes" the airplane scene/song? Does that mean, timing-wise, it lines up more with Josh's death? That would definitely make more sense structurally. Both life-alternating moments would then occur at around the same time in the show. (I only saw the show once in DC so I'm trying to remember the placement of everything.)

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Not sure how I feel about the show, which I saw yesterday. The second act feels too long, and like BRIDGES, it doesn't seem to know how/when to end. I thought the performances (especially Idina's) outshone the material, although I do appreciate an original book (what a concept!). It was intriguing; I just wish the score were stronger. This was my first complete hearing, so future listenings might lead to a different conclusion, but for now, I found the songs bland and unmemorable--a disappointment inasmuch as I really liked NEXT TO NORMAL.

By the way, I sat in the rear orch and had to bend my head down a few times to catch a few scenes on the upper tier. Not a big deal; only slightly annoying. Well worth the "Lottery Losers" price.

Updated On: 3/10/14 at 10:26 AM

If you don't mind me asking, how much/what was missed with the partial view seats? Thanks!

^ Just to clarify, the Rodgers is an orchestra and a mezz. There's no balcony/third level. I sat in the second row of the "rear" mezz and I thought it was a great seat. But to each their own, I guess.

"I thought the show was more interesting than engaging. The concept was very interesting, but it seemed to me that the creative team cared more about the themes and the structure than about the characters and the narrative. It never felt like the stakes were high enough most of the time."

Sounds like the criticisms leveled at early Sondheim shows like Company and Follies by the reviewers in the press back then. - Pre ATC

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