"Haterobics- Not saying that bdn is wrong for liking the show (Hell, I'm the guy that actually enjoyed Leap of Faith). I just find it a strong statement to say everyone who didn't like the show is "missing the point". If that many people are "not getting it", one could assume that the writers haven't made the point clear in the first place???"
To me, those are two separate points.
I would say that anyone who says that Idina eventually chooses one of the two lives is incorrect. And, if they think that, sure, perhaps the show wasn't clear enough about it (although I would disagree).
But both can be true. The show could confuse someone AND they can form an opinion that differs from the text. But then the issue becomes their confusion, NOT their alternate version of what was presented onstage that they made up to make sense of their confusion.
If you're still carrying a torch for LoF, then you know all about having a minority opinion about a show.
Between Idina Menzel, Tom Kitt and Brian Yorkey, the innovative new tandem musical If/Then has a lot of potential. Does it A) succeed or B) fumble its lines like John Travolta at the oscars. Watch the video review and find out! Review of “If / Then” starring Idina Menzel at the Richard Rodgers Theatre.
Just a random thought...I hope to see If/Then soon. For some reason reading the reviews and thoughts on the split story made me think of how people didn't get " Merrily..." doing the story in reverse.
I was at the opening tonight. An enthusiastic crowd, but nothing over the top. There were no curtain speeches.
I agree with most of the reviews. The show was just OK. Disappointing coming from the team that brought us the brilliant N2N. The show felt so disjointed, and I couldn't connect with any aspect of the material. I didn't feel ANYTHING until maybe the last 20 minutes. The music all blends together, with there maybe maybe 2-3 standouts. The terrific Michael Starobin orchestrations almost mask the blandness of many of the songs. It was also nice to hear a Kitt score with some brass. Idina definitely walked away with the show. She is really the only reason to see the show, and her "Starting Over" solo was magnificent. I could understand the Company, Follies, and Merrily comparisons, if only the show had a score as moving, smart, and enjoyable as those shows. I though the first act would never end, it was so monotonous. I really wanted to like this show, but it was just OK.
I'm sorry if this is naive ,but with so many different opinions both from the board and newspaper critics-who do the critics write for? Non paid critics[us] mostly judge how we see and how the show affects us personally. How objective is a critic supposed to be? Do they somehow step outside their personal feelings and judge a show how a theatre group would respond to it or because of their University[?} background, interlectualise everything so the 'average' theatre goer wouldn't understand or even bother to read said piece. It seems as if a lot of it[professional critic] is all about Power. If there is so much [obviously] wrong with something, how come the Critic has to be the first to notice it and point it out to the Director? A few random thoughts as I sift through all these wonderful comments.
No worries, @AndrewAndrew, just wanted to point out that you may get a more respectable outlook on your reviews if you had correct spellings, etc. Nonetheless, I very much enjoy some of your reviews.
Blaxx, that is a very good point. I just hope that it still keeps these grosses up. It is quite refreshing to see a Broadway star originate a role in a completely new piece of work. It has its flaws, but I think it is a show that is unlike any other.
"Life in theater is give and take...but you need to be ready to give more then you take..."
"I'm sorry if this is naive ,but with so many different opinions both from the board and newspaper critics-who do the critics write for?"
Good critics try and describe their experience of seeing a show, based on their personal experience and hopefully some theater knowledge, academic or otherwise, that they have accrued to put the work in perspective.
Objectivity plays no part here (unlike reporters, who are supposed to write about new stories without bringing their opinions and feelings into the mix as much as possible).
Critics should steer into the why of the reaction they have to a piece, since that is the way we can use that as a barometer to make our own decisions. I used to read Roger Ebert religiously, and whether he liked a movie or not, I knew whether I would like a movie, too, whether his review was positive or negative, after years of knowing his taste, my own, and how those two intersected. He could write a completely negative review and I would know I'd adore that same movie.
If a critic hates jukebox musicals, and just trashes every one without ever mentioning that bias, they would be an awful critic.
If you think the critics are the first person to raise any of the issues that appeared in tonight's reviews, you didn't read the DC thread, the DC reviews, the preview thread, etc.
Also, many people who saw the DC and Broadway runs (both BWW members as well as DC-based critics) all seem to think the show has been clarified and improved in the process.
Nothing raised in any of these reviews is going to shock and blindside the creative team.
That said, if people don't find that the central premise of the show resonates for them, well, that was never going to change.
"How much longer until all the Idina fans have seen it and entering the lottery will guarantee a win?"
Never? Times Square is a tourist hub, there will never be few enough people to guarantee a lottery win. If there any only 20 tickets (I may have that number wrong), you want to know when fewer than 10 tourists want to see Idina live for around $30? And your worldview doesn't acknowledge people who will see this dozens of times? Not gunna happen... it may get easier, but never guaranteed.
I will be very, very surprised if this show lasts a day after Menzel leaves. I've suspected all along the overwhelming majority of ticket sales were due to Idina, and now, according to most reviews, she's the only reason to go.
That being said, I expect it to do pretty well as long as she remains in the show.
I'm gonna call this one of the front runners for the Tony which I know is contradictory to the reviews but hear me out. Our options for serious contenders are:
If/Then Bridges of Madison County Rocky Aladdin Bullets Over Broadway Gentleman's Guide to Love and Murder Big Fish
I think we can count out "Big Fish" for closing in the fall, and "Aladdin." Though it was better than expected, it still is generally considered pretty but lacking substance. The only shows left that have gained mixed to positive reviews are "If/Then" "Bridges of Madison County" and "Gentleman's Guide". Those three are locks for nominations and it leaves space for "Rocky" and "Bullets" to fill the last few spots.
Now, on to why I consider "If/Then" a front runner is that Tony likes to honor the show that takes a risk. Voters are ready to honor a show not based on a film. (there is nothing wrong with film based musicals, but Tony votes like to mix it up every so often). Also, a majority of Tony voters feel like Kitt and Yorkey deserve a long run with a show after a tony snub cut N2N's run shorter than it would have been had it won. Add all these and a season with no clear front runner and "If/Then" stands more of a chance than we give it credit for.