If/then Reviews- Page 11

[LYLS3637]

Posted: 4/9/14 at 12:10pm

"Beth gets a call on her cell phone from an old school chum named Stephen (Jerry Dixon) who remembers her drawings of urban sites on bar napkins and now offers her a job as a city planner, while Liz gets arrested for closing down the subway and falls in with a group of urban protesters, including bisexual Lucas (Anthony Rapp) and handsome Josh (James Snyder), an army doctor from Nebraska who has just returned from a tour of duty. Beth (or is it Liz?) gets pregnant by either Stephen, Lucas or Josh...

Nothing about If/Then makes a lick of sense. In Act One, Beth (or is it Liz?) has a baby. When the curtain rises on Act Two, she has two babies. Sometimes, her husband calls her Liz, and at other times, he calls her Beth. LaChanze gets mixed up and calls her both names. How is the audience supposed to tell them apart if the other characters onstage can’t?"

Is this supposed to be sarcasm or was he just not paying attention to anything that was being said in front of him? Or is he just such an idiot that he can't follow a narrative that requires more than a 4th grade attention span?

[MCfan2]

Posted: 4/9/14 at 2:20pm

If he really thinks Idina is screechy, he needs his ears checked. And I'm not even one of the diehard Idina fangirls. She just has a beautiful voice, that's all.

[BroadwayBen]

Posted: 4/9/14 at 2:28pm

Rex Reed became irrelevant in 1977….The New York Observer is nothing newspaper, and I doubt he even gets paid. He's probably doing it for the free tix. Not worth all this.

[haterobics]

Posted: 4/9/14 at 2:30pm

It is best not to give his review more attention than he gave the show he was "reviewing."

[Phillytheatreguy10]

Posted: 4/9/14 at 2:52pm

^^I agree with the above comment on Menzel's vocals. Yes, at times she verges on schreechy, but this show showcases her abilities better and is clearly tailored for her strengths. She has no vocal pyrotechnics that even compare to her work in Wicked in this show, with the exception of her show-stopping 11 o'clock number. When I initially read Reed's review I wondered if we had attended the same show. I also agree we shouldn't give this dribble any more attention.

[uncageg]

Posted: 4/9/14 at 5:40pm

I had no real problem keeping track of the story. There we're a few times I got a bit confused for a moment but got back on track quickly. It was one of the first shows in a while that I was humming the music at intermission. You have to pay attention and it will make sense. Somewher here there was a comment about Lucas being gay in one story and sgraight in the other. That was, very quickly, explained in a scene in the bedroom. I do plan to see it again and can wait for the cast recording.

I also agree that the music complimented Menzel's voice. They all were in great voice.

The worst part of the evening was getting ripped off at the merch stand! Their magnets, which I collect, are extremely cheap. They are those thin flimsy bendable kind. And they are charging the standard ten bucks for them. I literally said "Wow" when the guy pulled it out from under the booth. They weren't on display and I see why. He said "They're relly cool" to which I replied "No, they are thin and flimsy".

Updated On: 4/9/14 at 05:40 PM

[ScottK]

Posted: 4/9/14 at 9:58pm

i, too, thought the magent was a bit overpriced--but it was a cool/fun magnet in that it had the flip image depending on how you looked at--and it perfectly encapsulated the theme of the show. Very clever!

[uncageg]

Posted: 4/10/14 at 8:40pm

ScottK, that must have been what he meant when he said they are cool. I was so surprised at how cheap it looked that I just slid it into my wallet and put it directly on the fridge when I got home. Will look at it when I get home tonight.

[South Florida]

Posted: 4/18/14 at 8:29am

The Brantley review is strange, I don't get it but I admit I'm not very clever.

[delongpre]

Posted: 4/18/14 at 9:13pm

Saw the show this week. Loved it and loved how it charged my brain and invited me to wrap myself in Elizabeth's worlds. I followed it easily, and was actually energized by the need to stayed focused on everything presented to me that defined which character I was watching. Idina and LaChanze were fantastic. The set was incredible, especially from my seat...the angles on the mirror were perfect. Clever presentation of a smart show.

Onto Rex Reed.....he deserves a bad review for his review. He apparently was not alert during the show, or his memory is gone. I hope anyone reading his review will understand how badly he messed up and not take a word of it seriously.

[defyingg14]

Posted: 6/26/14 at 11:40am

Sorry to bring this thread back, but I just saw If/Then for the first time last night and was utterly impressed by the concept, the staging, and the performances by each of the actors. Curtis Holbrook was on for Anthony Rapp, who I have never personally liked so it didn't bother me, gave an excellent performance despite having the weaker written story. I have never seen a show with so much talent as this group of cast has. LaChanze is simply amazing as Kate and was definitely snubbed of a Tony Nomination. I also take back whatever I have ever said about Idina Menzel. At times she can come off a bit sharp, but it could be that I was close to a speaker, but otherwise that performance beat anything I've ever seen her in. "Always Starting Over" was simply INCREDIBLE. Whatever anyone else says they should see her slay that note on the second 'and start..' The standing ovation after that number was great to see too. I have never seen that at a show before except for curtain call which only for Wicked have I seen the crowd stand the whole time, but for this show they stood at the beginning when the ensemble came out first to take their bows. Idina's vocal power and breath control is incredible in this show. I've seen Jessie Mueller and although she is special, for what Idina created for this role, Idina should've sealed the deal with that Tony. If/Then should've gotten the Tony nomination for Best Musical but what can you do...

[Brian07663NJ]

Posted: 6/26/14 at 12:29pm

I saw the show last week for the first time myself. I was adamant with myself that I simple was not going to see this show. I enjoy Idina. I loved her performance in Wicked. I just don't beat the drum for every performer who has a fanatical fan based to rave over every performance just because it is them. In any event, I started to become a bit more interested once I saw Idina's interviews about If/Then leading up to the Tony Awards but not enough to go see the show. I ended up going because the ticket was surprise gift from a friend. She asked if I wanted to know where we were going. I said No. Only realized what we were doing once I was standing under the marquee! She is a big Idina fan. Turns out...I enjoyed the show more than she did!

Overall, I was not crazy about the music. I loved the concept of the two life stories running parallel. I knew the premise going in. Even knowing this was taking place, I thought there were too many times I was asking myself...is this a Liz scene? Is this a Beth scene?

I didn't have an issue with the second baby as previously mentioned - figured time just moved on quickly.

Didn't love the show enough to want to hear the music again and with exception of the title song...I don't remember any of the melodies.

[haterobics]

Posted: 6/26/14 at 6:16pm

"Didn't love the show enough to want to hear the music again and with exception of the title song...I don't remember any of the melodies."

I do think the Liz/Beth stuff and the plot intricacies can seemingly get in the way of just enjoying the songs as good songs. I found them much richer, intricate, and memorable when you hear them on the cast recording. And, the next time I see the show on Broadway, I think it will make the experience even deeper.

[jnb9872]

Posted: 6/26/14 at 6:53pm

I'm curious what a person who joined the site today and named themselves "defyingg14" has said about Idina in the past. < / sarcasm>

Updated On: 6/26/14 at 06:53 PM

[haterobics]

Posted: 6/28/14 at 11:24pm

Hmm, is it too much to ask that BWW have people review the cast recording that actually saw the show?!

The review they just posted seemed a bit off to me, until I hit this line toward the end: "Reading the synopsis in the liner notes and listening to the CD on repeat has left me wanting to see the show."

Isn't the bigger issue how the OBCR captures the musical moments from the larger show, and how they work out of context, etc? Like, wouldn't you get a richer review of an OBCR from someone who attended the show? That way they could skip trying to sort the show out between the CD and the liner notes, and just focus on the actual recording/presentation of the cast recording?

Or is this pretty standard? Similar to the site's love of negative headlines on top of seemingly positive content.
BWW If/Then Cast Recording Review

[ShakinBaconGirl]

Posted: 6/29/14 at 3:10am

I wanted to love this show but I sadly just couldn't. The book falls very flat in Act 2 but The score is wonderful and Idina is great.

[Auggie27]

Posted: 6/29/14 at 7:42am

The score has grown on me. It seemed to be all about three numbers, a bit overexposed (particularly "Here I Go") but there are lovely nooks and crannies, notably the "Walking by a Wedding..." verses that start act two, some lyrical writing without power ballad demands. Which Menzel sings winningly. I still believe, among those over-televised songs, "Learn to Live Without" has a potential life outside the show. It has an almost Carol Hall/ C&W feel, and someone like Faith Hill or Sheryl Crow could sing it thus.

[goldenboy]

Posted: 9/18/14 at 6:04pm

If it's a Broadway Musical, shouldn't it be somewhat entertaining? What a snoozefest.
If it's a Broadway Musical,then does it have the right to be this dull? The music sounds alike after three songs. I don't care about Liz and I don't care about Beth.
And yes I was confused which story I was in at many times. Fine performances from the cast.. especially LaChanze can not save this material. Idina is in great voice and gives it her all. It's just not enough. Maybe green makeup would help. I couldn't hurt.If this is what Broadway musicals are coming to... I'm going to start watching soccer games.

[Pootie2]

Posted: 9/18/14 at 7:08pm

Sounds like you weren't the target audience, unfortunately. The Ticketmaster aggregate is quite positive otherwise.

[Sherbear8081]

Posted: 9/18/14 at 9:35pm

I saw the musical back in July and I absolutely loved it! I listen to many of the songs almost everyday! When I first saw it I was a little confused, but after I read an explanation of how to tell the two apart, the show totally made sense to me! I re-watched it on youtube and now I can understand every detail! I love If/Then and I hope to see it again!!

[Broadwaydreaming]

Posted: 9/18/14 at 11:08pm

I liked If/Then. Idina was my driving force for seeing it. Her aside, the soundtrack does make nice background noise. It was cute, simple, and had a good message. Made for a nice Sunday afternoon.

[Bwaydide92]

Posted: 1/11/15 at 1:45am

I know this thread has been dormant for a few months, but I had to bring something up.

Not many people talked about the direction of the show. Like what was up with it. I will admit, the show had many great stage pictures. The subway map reflected in the mirror, Her making the choices in the opening, her bed being on the turntable the second time Josh visits, and some more. But overall, I feel like Michael Greif was so caught up in making sure the storylines were clear (which I thought they were. Never had a problem telling which story was happening, unless it felt like that was the intention) that he forgot that he also needed to direct his actors. It just seemed like the stakes were only moderate for all of the characters. For example, when Beth tells Lucas about the abortion, they just seem to nag at each other. Beth doesn't really seem to be offended that Lucas proclaims some kind of ownership over her body. And Lucas doesn't seem hurt enough by the fact that his child was never given a chance and he had no say in the matter. The conflict just wasn't there.

And how could Greif not see how awkward 80% of that choreography was? I don't feel like Tom Kitt's music lends itself to dance. The little bit of dance in N2N (excluding I Dreamed a Dance) felt unnecessary. and If/Then has so much more in that vain. I think the cast could have been cut down dramatically. The ensemble just didn't feel necessary most of the time. If they would have just had two or three ensemble members that played more parts I think that would have worked better.

And what the FU*K with that mirror???? The only times it worked for me was in the aforementioned subway map moment and whenever they used it for stars in the sky, which is still weird because it's New York. We don't get stars. But most of the time it was simply showing a reflection of what was on stage. And I just felt like "Thank you, I've always wanted to watch a Broadway show from the catwalk so I could just see the heads of the performers. Maybe I missed the point, but I couldn't find any artistic purpose to the reflections. It wasn't as if the stage picture was one scenario and the reflection was the other. Just a lot of heads.

What I did appreciate about Greif's direction this time though was that there was no band on stage! I thought that was the biggest detriment to N2N. A chamber musical about one family that takes place mostly in their home, why is there a drum set next to the bathroom? So, I'm glad they were in the pit for this show, where the orchestra usually belongs.

Overall, I enjoyed the show. Thought Idina did a really good job, not great or amazing, but really good. I think mostly because there were too many moments where she had a belting note that just didn't seem like it needed to be there. Also, tonight here voice seemed to be giving out at some points (It was a two show day). But I enjoyed her. LaChanze kind of blended into the background after the first few scenes for me. Anthony Rapp's Lucas was fine when it was Liz's story, he was annoying in Beth's. James Snyder disappointed me. Maybe his voice is tired from the run of the show, but I never felt like his voice was right for the songs. Jenn Colella? I don't think I would have minded if her understudy was on tonight. I wish Jason Tam had a better role in this show. His presence really makes you gravitate toward him, or maybe just me. But the first time I felt a real emotional pull from the show was when he performed "What would you do". That guy really knows how to hit you in an emotional weak spot. I wish the songs brevity didn't work perfectly, because I wanted more of Jason Tam.

I see why this show is closing with Idina's contract, I truly believe it could have been more but it probably wasn't given the time it needed, or the proper direction.

[Auggie27]

Posted: 1/11/15 at 9:43am

Was her voice really giving out? I'm curious. I've heard her suggest that she wants parts of act two to sound less controlled and together. The plaintive notes in "Learn to Live Without" have a kind of emotion-driven rasp. I'm not making excuses, just curious. She always pulls off the end, the power of which even Brantley acknowledged.

[Bwaydide92]

Posted: 1/11/15 at 12:30pm

I noticed it slightly in Act 1 actually. She wasn't quite hitting the high notes, she'd be like a step or half step underneath and then go up to the right note mid vowel. There was even a moment in Act 2 where she had to clear her throat. Which I guess could have been an artistic choice, but probably not the best one.

[Auggie27]

Posted: 1/12/15 at 9:20am

Was there yesterday. The Voice showed zero sounds of fatigue and I heard no re-negotiated notes, other than a couple of head notes where once she employed a belt (but don't hold me to that, I'm not a singer and I make these evaluations as a layman). I do know what a tired voice sounds like and everything was in place. The centerpiece for what Menzel does so effortlessly is "Here I Go," an infectious and sexy duet with Snyder. If anything, she knocked the held notes out of the park even more than on the CD or in the theater last spring. And predictably, she tore the place up in "Always Starting Over." She has a different emotional launch on the prelude to ending, and it's quieter and less tortured, but still very full. The second act is so grief-infused, it seems as if the ending now arrives more connected to what has come before, an inevitable benefit of a long run perhaps.

Question: Has "The Moment Explodes" been shortened? (Not a bad thing if it has).