KISS ME, KATE (2019 Roundabout Revival) - Previews — Page 3

The BBC Proms recently did a very nice revival. It's on Youtube.

Perhaps someone seeing the preview tonight can fill me in on an important part of the action that left me in a state of confusion. Lili and Fred go after each other rather violently, but there is no spanking.

The next morning, I believe, each is being offered a ride on a mule. Lilli and Fred both proclaim that their posteriors are in no way suited to ride a mule.

It seemed to me that both were complaining about the results of mutual spanking that would have occurred the previous day offstage.

The alternative interpretation is that all violence rendering them incapable of sitting a mule had occurred during the scene that we had seen, although I didn't notice any particular number of hits to the rump.

But I think that to state the alternative is to dismiss it. No off-stage confrontation complete with spankings. The reference must have been only to the blows that we saw. Perhaps at one time the solution for the spanking was to have both of the victimized by a spanking from the other, and the dialog the following morning was not changed.

Updated On: 2/16/19 at 10:06 PM

I saw this last night (2nd preview) and I thought it was a solid production. Out of our four people, I was the only one who had seen previous production but all four of us had terrific time. Kelli O’Hara was terrific. Her take was different to Marin Mazzie but I think it is closer to the original version. Marin Mazzie made a big impression on me for this role so it took me a little bit at the beginning to get used to Kelli O’Hara but she won me over by not imitating Marin Mazzie and did it in her style. She got a lot of laughs and her singing was amazing as always. Her singing toward the end of act one alone was worth a revisit. Will Chase is a solid actor with great voice which should be on Broadway more. He commanded the show and seems to be the leader of the group, which is appropriate for the show, I think. The show still needs to be tighten up. Some of the actors seem to still be off key to me but it was only 2nd preview and it was a physical production with a lot of dance, jump, and movement.

Now, for the closing of act one and continued joke on act two, I thought it worked but not as effective as the original although I must say I am not sure the original version will work with all current audiences either. I think the slightly new update is probably the part that the production team will likely work on the most during the preview. It’s almost there but not perfect yet in term of bring the house down with laughters. Personally, I think The trick is to setup audience perception properly. There were other jokes added throughout the show. They were fine and pleasant.

perfectlymarvelous said: "I feel like the approach to some of these recent revivals of older musicals with problematic material has been really off base. I don't know that it "fixes" anything to make minor tweaks and changes to try and fool the audience and conceal the misogyny (or whatever it is) that's inherent in the material. It really doesn't help that nearly every major musical revival is directed by men (and often the same three or four men). I think there's much more to be learned from taking these shows as written and actually re-examining them from our current perspective, and working with what's on the page and having a point of view about it. And for goodness sake, women need to be at the helm more often."

I don't think that Cole Porter would have collaborated on a misogynistic show. If it appears that way, it's probably because it was based on a misogynistic play. Even then I'd be reluctant to label Shakespeare a misogynist. He created a lot of women stronger and smarter than the men she was around. Rosalind in As You Like It.

There should be more women directors, but money tops everything. So much is gambled and lost on Broadway that investors would rather have a director with a known entity. They feel safer with Sher and Rob Marshall. Would the non-profits be the best place to showcase women directors? Donations to Roundabout conditioned on their using at least two women directors next season?

Susan Stroman I thought through her record of success -- She even got to stage The Merry Widow at the Met -- had reached the pinnacle of power. She will never be out of work, but given all the effort that she put into the revival of "Crazy for You," if it doesn't reach Broadway than she is not all-powerful.

^
This.

i have admit thatI have never liked KMK. While there are some wonderful songs and Too Darn Hot is always going to be a showstopper, I am bored silly by all of the show-within-a-show scenes and songs (and that is a lot of time to be bored).

Any thoughts I have had about breaking down and seeing it have been pretty dampened by this thread. I will continue to read in hopes that feedback will become more positive. I will also not trust the critics in this case, because I was seriously bored during the last revival, despite the great reviews and all the awards it received.

My wife thinks it is seriously dated, and has already told me to go alone if I do decide to attend. I guess you can'tolease all of the people all of the

time.

Two friends and I caught the matinee yesterday, which would have been the fourth preview, and we all loved it. Kelli O'Hara was outstanding, as usual. We loved Will Chase too, and they had great chemistry. The choreography was clever and inventive, and even a bit risqué! The direction kept things moving along at a good clip. The supporting players were all very strong singers and dancers. The orchestra sounded wonderful. It was just a pleasure from start to finish!



There was a funny glitch that reminded me that there's nothing like live theater! Kelli at one point had trouble opening the door to the tavern. I could see her only from the back, but I think her dress or sleeve may have gotten stuck in the door. She struggled with it for a few seconds, and we thought it was part of the show, until she said something like, I need a little help here, and one of the actors came from behind the door.

The only other exposure I've had to KMK was a regional production a couple of years back, and I don't remember much of that. So I can't speak to what was changed for this production as far as the misogyny, text, etc. It didn't bother me that Kate's beau is now a military general instead of a businessman because it gave her a rationale for dumping him. I highly recommend!

Updated On: 2/18/19 at 09:22 AM

Anyone done RUSH through TodayTix yet? Location?

How is Kelli's performance specifically and what's the likelihood of her winning her 2nd Tony this year??

TheBroadwayBubble said: "How is Kelli's performance specifically and what's the likelihood of her winning her 2nd Tony this year??"

I had a great time at KMK and O’Hara’s voice is a natural wonder. But I’m not sure when compared to her career-defining Tony-winning performance in The King and I that she’ll win again for this. Her previous brilliance in a more substantial show may be her undoing. Besides, I sense that people feel Block is due her time at the podium this year. I haven’t seen The Cher Show yet though. I don’t see much competition coming from Tootsie or Hadestown for best lead actress although i admit I don’t know much about the roles in the latter. I believe the female actresses in Tootsie will likely fall in the supporting category, but again I haven’t seen it so I could very well be wrong. I do think O’Hara is a lock for a nom, though.

What do you mean by saying that Kelli was “under-utilised”?

It's here where only seeing the show once makes me cautious. I don't recall the audience response to most performances.

Let me put it this way. I've seen Kelli in everything beginning with South Pacific, with the exception of Bridges and including the anniversary Light in the Piazza and concert Carousel.

In every case Kelli has been the center of attention (Nice Work being the least so). In this first preview, not so I think. Almost always on stage? Stephanie Styles had three numbers, "Why Can't You Behave," popular song and dance "Tom, Dick and Harry" and the admired "Always True to You." She shared the stage with Kelli in "We Open in Venice." Corbin Bleu had a leading role in "Too Darn Hot" and his own solo tap, "Bianca." Will Chase had his two songs, "Come to Wive It Wealthily" and "Where is the Life." The curiously placed "Brush Up Your Shakespeare," by the two gangsters, rounds out the scenes that Kelli was not in, or not featured.

Two of these, "Too Darn Hot" and I believe "Tom, Dick and Harry," or another of the other primarily dance numbers, provoked that most audience reaction. Kelli has a pretty limited opportunity when the spotlight is on her to make the show her own. I get the feeling that some of the commenters who did or did not critique the show thought that she will have to do more if she is not to be "upstaged" (thanks Ivy for that word) by Stephanie or Corbin and the dancers. The risk of a double threat appearing in a show where a triple threat is in position to be most noticed. See Sutton Foster and Patti Lupone starring in Anything Goes.

Of course, Kelli may not care if she shares the credit for a successful production. Her fans will care.

Anyway, I have tickets to see the show next on the night before it opens, and it should be fun to see what changes have been made.

Where to begin?

Scott Ellis sinks another one. IMHO, his sketchy direction has sunk She Loves Me, 20th Century, Company, Steel Pier, 1776, Picnic and many others. He's a third tier kinda guy.

What a disaster! Worse than Disaster!

I'm reading that they're trying to update the show to make it more relatable to current audiences. In doing so, they've drained all the fun, outrageousness and show-biz out of the show. Porter and the Spewacks are spinning.

Someone needs to tell Will Chase, Kelli O'Hara and Scott Ellis that good pacing of lines doesn't mean rushing all of them so we lose the intention of the lines. And what's the deal with enunciation? Or severe lack of it. I lost many of Porter's brilliant lyrics. Critically in Tom, Dick or Harry and Always True To You (I forgot what a great song it is).

And you know you're in trouble when Brush Up Your Shakespeare barely registers on the stage. What's up with THAT??? Throwaway blocking and bad enunciation for 2.

Kelli O'Hara always comes across to me as too modern, off-the-cuff and slight. Great in Pajama Game and Brigadoon. Not so great in so many other things. She's too, well, little here. Chase is also missing the grand gestures and voice. And again, those rushing lines.

The less said about Lilly's lover and the gangsters, the better. Corbin Bleu is always an asset, but underutilized here. Stephanie Styles is all over the place and ultimately annoying.

Never liked Carlyle's choreography and he doesn't disappoint me here. Unmemorable and bland. And, just a question, why in "Too Darn Hot" are they jumping for 16 beats if it's so hot? Nit-picking...but still... And why is Lilly plopped in the opening dance just sitting on a chair blocking the dancers?

I could go on and on. I was just angry that they stripped the joy and spirit of the original. Stupid.

Updated On: 2/19/19 at 11:49 PM

I've never really been that interested in this show- there is some fantastic music from it but I've never been a big fan of the idea of a show within a show. And some of the songs aren't that great to me- I Hate Men is a lyrically brilliant song but musically it is grating to listen to for aesthetic reasons, Why Can't You Behave? is a bore, Too Darn Hot doesn't really do anything for me. As a huge fan of Kelli's, the show seems a bit disappointing since she doesn't have a huge amount of material in it the way she has had in past shows. But having been familiar enough with the show before the revival was announced, I knew that from the beginning. Still Wunderbar is fantastic.