#26
Posted: 3/23/13 at 6:58pm
Alas, I missed it, but every time I see Pittu at Encores! I'm dazzled by his hilarity. And in IS HE DEAD?, too.
It's a Bird...It's a Plane...It's... — Page 2
#27
Posted: 3/24/13 at 12:03am
I loved this show from beginning to end. The best Encores production I have seen so far. If there are any tickets left for Sunday, grab ’em!
#28
Posted: 3/24/13 at 6:38pm
The orchestra at Encores is always sounds spectacular. Rob Berman does an amazing job! That is why it almost always is worth the price of admission.
#29
Posted: 3/24/13 at 7:37pm
I saw it this afternoon & I enjoyed it a lot.
Having seen the original I started to compare one to the other. The cast is first rate . Watts Superman was goofy & funny & while Holidays seemed to have a little more substance to it he held his own. While I liked Swensons Max, I preferred Cassidys take on it. Pittu's Sedgewick was on par with Michael Sullivans . Mauzeys Sydney was just as good as Lavins .Jenny Powers Lois Lane was better than Marands. Montleys Moran was adequate in a basically thankless role.
What fun to hear a full Broadway orchestra play the hell out of the score. I was surprised how much more than a staged concert it seemed to be. The sets were chintzy but I was surprised there were any at all. It seems like some dialogue was taken out as well as the small Perry White character. One number for the Lings "Everythings Easy If You Know How" was not in it (it was also missing from the cast album). I do not recall the acrobatic scene being in it but there was a scene where Ling & Sedgewick were atop a skscraper which was not there. The first act ending was different in that in the original Superman was holding the speakers podium aloft while city hall was blown up in the background. Pow Bam Zonk was staged great even though the original version was better.
All in all, it was fun seeing it again. I think this time around it would succeed on Broadway with Spiderman (this is a better show) playing & the new Superman movie opening. I doubt however Superman will fly again.
The place was packed today.
Having seen the original I started to compare one to the other. The cast is first rate . Watts Superman was goofy & funny & while Holidays seemed to have a little more substance to it he held his own. While I liked Swensons Max, I preferred Cassidys take on it. Pittu's Sedgewick was on par with Michael Sullivans . Mauzeys Sydney was just as good as Lavins .Jenny Powers Lois Lane was better than Marands. Montleys Moran was adequate in a basically thankless role.
What fun to hear a full Broadway orchestra play the hell out of the score. I was surprised how much more than a staged concert it seemed to be. The sets were chintzy but I was surprised there were any at all. It seems like some dialogue was taken out as well as the small Perry White character. One number for the Lings "Everythings Easy If You Know How" was not in it (it was also missing from the cast album). I do not recall the acrobatic scene being in it but there was a scene where Ling & Sedgewick were atop a skscraper which was not there. The first act ending was different in that in the original Superman was holding the speakers podium aloft while city hall was blown up in the background. Pow Bam Zonk was staged great even though the original version was better.
All in all, it was fun seeing it again. I think this time around it would succeed on Broadway with Spiderman (this is a better show) playing & the new Superman movie opening. I doubt however Superman will fly again.
The place was packed today.
Poster Emeritus
#30
Posted: 3/24/13 at 9:55pm
I was there this evening and I'm glad I grabbed myself a TDF ticket, as I had a really good time! It was certainly an impressive mounting for a "production" that only ran five days (Encores! continues to outdo themselves in this respect). John Rando deserves the majority of the praise here, for staging the show with charm and pizzazz. Also, a special shoutout to the always wonderful Alli Mauzey, who stole the show for me!
#31
Posted: 3/25/13 at 1:28am
Mr Roxy, I'm glad to hear your report, because I've enjoyed hearing you talk about the original production in the past. This has always been one of my ultimate I'll-probably-never-get-to-see-it shows and I really liked the Encores "concert."
#32
Posted: 3/25/13 at 10:19am
Oh man, it was fun! Like Wicked, I got in last minute and quite cheaply (I think my mezz seat was under $30) and being the shameless seat nomad I am, immediately moved up to empty seats in first row grand tier and then first row orchestra.
I think Allie and Will Swenson were my faves, but the cast was uniformly terrific, as was the orchestra. Not to mention David Pittu, who is one of our comedic treasures in recent years (And I am one of the lucky ones who did catch and love him in What's that Smell?)
I think they might even be able to transfer it to Broadway in one of the smaller houses, but if they don't, I'm especially glad I caught in at Encores.
Thanks to posters on these boards for letting me know how good it was and thanks to the folks at Encores for unearthing these gems
I think Allie and Will Swenson were my faves, but the cast was uniformly terrific, as was the orchestra. Not to mention David Pittu, who is one of our comedic treasures in recent years (And I am one of the lucky ones who did catch and love him in What's that Smell?)
I think they might even be able to transfer it to Broadway in one of the smaller houses, but if they don't, I'm especially glad I caught in at Encores.
Thanks to posters on these boards for letting me know how good it was and thanks to the folks at Encores for unearthing these gems
#33
Posted: 3/25/13 at 10:23am
I saw Superman on Saturday night and The Big Knife the next day. Ugh! Not that the show was bad, but it was certainly a downer.
#34
Posted: 3/25/13 at 10:43am
Saw it Saturday, and had a ball. Watts and Powers sang perfectly and were both subtly funny. Swenson and Pittu were fine, but needed more defined comic business, I thought. That orchestra was amazing.
New peeve - people who start applauding long before the overture or song are done. What, you can't wait until the last note plays before you have to express your approval? A large chunk of yahoos started clapping and hooting before the orchestra hit the final note of the overture (not the button, the long last note). It makes you wonder if they find it more important to show their enthusiasm than to actually listen to the piece.
New peeve - people who start applauding long before the overture or song are done. What, you can't wait until the last note plays before you have to express your approval? A large chunk of yahoos started clapping and hooting before the orchestra hit the final note of the overture (not the button, the long last note). It makes you wonder if they find it more important to show their enthusiasm than to actually listen to the piece.
#35
Posted: 3/25/13 at 11:10am
"New peeve - people who start applauding long before the overture or song are done."
Preach! That always annoys me and strikes me as very rude to both the performers (who are after all still performing) and to the audience members who are trying to listen, to what is often the most powerful, soaring part of the song, but which is seriously muffled and interrupted by premature clapping. Arrrgh.
Preach! That always annoys me and strikes me as very rude to both the performers (who are after all still performing) and to the audience members who are trying to listen, to what is often the most powerful, soaring part of the song, but which is seriously muffled and interrupted by premature clapping. Arrrgh.
#36
Posted: 3/25/13 at 11:18am
I agree newintown. An especially annoying example of premature clapping happened at Pippin Saturday night. (This example does involve a slight spoiler, btw.)
When Rachel Bay Jones sings "Kind of Woman," Catherine wants to prove that she's anything but average and ordinary, so she holds her final note out long after the orchestra has stopped playing. At ART it got a huge laugh, but the joke was totally lost at the first preview as everyone was whooping it up before she even started singing the note.
When Rachel Bay Jones sings "Kind of Woman," Catherine wants to prove that she's anything but average and ordinary, so she holds her final note out long after the orchestra has stopped playing. At ART it got a huge laugh, but the joke was totally lost at the first preview as everyone was whooping it up before she even started singing the note.
Marie: Don't be in such a hurry about that pretty little chippy in Frisco.
Tony: Eh, she's a no chip!
Updated On: 3/25/13 at 11:18 AM
#37
Posted: 3/25/13 at 9:52pm
It's a serious shame they dont record these somehow. You'd think that Broadway would have learned from the Met about this kind of non-NY exposure. Maybe someday...
http://docandraider.com
#38
Posted: 3/25/13 at 9:55pm
"When Rachel Bay Jones sings "Kind of Woman," Catherine wants to prove that she's anything but average and ordinary, so she holds her final note out long after the orchestra has stopped playing. At ART it got a huge laugh, but the joke was totally lost at the first preview as everyone was whooping it up before she even started singing the note."
Is this some sort of Weissler trademark? They interpolated one of those gimmicks into a number in SCOTTSBORO BOYS, not to mention CHICAGO and ANNIE GET YOUR GUN. I find it rather annoying actually.
Is this some sort of Weissler trademark? They interpolated one of those gimmicks into a number in SCOTTSBORO BOYS, not to mention CHICAGO and ANNIE GET YOUR GUN. I find it rather annoying actually.
#39
Posted: 3/25/13 at 10:13pm
I find the Weisslers themselves annoying.
#40
Posted: 3/25/13 at 11:27pm
I was trying to be kind, egghumor, but I concur.
#41
Posted: 3/25/13 at 11:30pm
^I wonder which roles they'll begin to stunt cast once the original cast departs.
#42
Posted: 3/26/13 at 12:06am
Apparently in the case of Catherine, anyone who can hold a note (on pitch) for a long time.
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