Kinky Boots previews- Page 4

[WhizzerMarvin]

Posted: 3/5/13 at 11:52pm

Theater'sBestFriend,

I'm sorry you thought I was trying to monopolize the thread. I assure you that wasn't my intention. I shared my opinion and then simply responded to comments in the spirit of discussion. I have no agenda with Kinky Boots, Matilda or any other show that I see. I never want to dislike a show (who would?), and I truly am not trying to force my opinion on anyone here. It's the difference of opinion that makes this board interesting.

[Up In One]

Posted: 3/6/13 at 12:49am

Again Whizzer to say Dont Tell Mama is an extension of Sally's character more than The Land Of Lola is for Lola is a matter of potatoe/ potato. The Mama lyrics aren't specific about Sally, her mama and papa and uncle are none of what she describes, it plays up her love of storytelling. The gist of the song is that she's a good girl gone bad. If i wanted to minimize it as you did Lola's songs - any whore or for that matter drag queen could sing it. Lola sings of being freedom and constriction a potpourri of contradiction, she goes on to list what you are considering generic drag queen qualities that are all attributes of her charachter no more or no less than Sally's Mama number. Lola's big 11oclock number which follows a top 40 format the most is very specifically about his relationship with the two most important men in his life. The Sex Is In The Heel is a lesson in fashion with a purient primer on the sexy side if stilettos. The number and scene moves the plot forward with such fun you don't realize you're being advanced. Cyndi's clever rhymes around the big names in fashion are brilliantly funny.

Charlie's songs are very specific, Take What You've Got is a conversation between two friends about the passing of time and promises they made about their lives. You hear "seize my destiny" and compare it to Stephen Schwatz college effort Broadway lyrics. Until you have the Kinky lyrics in front of you I really wish you would reserve grandiose condemnation as you've done. Charlies final song is a homage to his father and devastating self critique how more personal can it get? Sure this score is probably too accessible for a veteran theatre connisoire but I found Cyndi's crossover an amazing blend of pop culture and theatre. This is an immensely listenable score that drives home the themes of the show beautifully.

I am seeing Matilda Thursday but I've got to tell you I can't stay awake through a complete listening of the London OCR. Yes there are a few tunes i am enjoying (Naughty, When I Grow Up & Revolting Children) but the lyrics and song structure ramble on making me lose interest. Here's a case where I am expecting the book and staging to carry the day and fill in the blanks. My prediction is Cyndi's music and lyrics will be lauded and awarded as will Matilda's book and direction and best musical will be a US vs UK throw down. I am saying that without seeing Matilda but being familiar with the London reviews. I ll let you know if that stands after Thursday.

Thank you for citing other examples of wonderful song writing from the Golden Age of Broadway. Can you offer some from the pop rock error that Kinky more closely compares?

[After Eight]

Posted: 3/6/13 at 12:56am

"I am no shill, but a follower and new poster to this board. I am sorry if you found no merit in my perspective. Perhaps others will feel differently."

I'm one of those who feels differently.

I find a great deal of merit in your perspective.

You've raised some very valid points in this thread.

Fact is, there ARE people who take over threads, imposing their opinions again and again, cheered on by those of like mind. There is definitely a tendency to try to impose one point of view, and to squelch any attempts at offering dissenting ones, through ridicule, insults, "ganging up," etc.

So you are to be thanked. You've made a great contribution here, and I look forward to your future posts.

Posted: 3/6/13 at 12:58am

Someone in a Tree2--

you might want to research who you are insulting before slinging accusations of "regressing". JERRY MITCHELL AND CYNDI LAUPER. say what you will about the show, those people have done more for the LGBT community than many people combined. I hardly say that comment in the show is regressing. and you obviously didn't understand, cause he said "blokes that fancy blokes fancy blokes" meaning gay men LIKE GAY MEN. (not drag queens)

I saw this in chicago, I assume that is the line you are referring?

Seeing it friday. can't wait!

[After Eight]

Posted: 3/6/13 at 1:10am

Up in One,

Even though I didn't have the same experience that you did at
Kinky Boots, I thank you your excellent posts in this thread, and elsewhere.

You're articulate, insightful, and display a love of theatre that is infectious.

I look forward to reading your assessment of Matida, as I felt the same as you about its score.

[WhizzerMarvin]

Posted: 3/6/13 at 1:34am

Up In One,

Thanks for the response, and who knows? In the end we may have to agree to disagree about Kinky Boots' lyrics. I guess it's also difficult to have too much of an in depth conversation about them after only hearing the words once and not being able to look at them as we discuss them.

As far as more modern shows go, I did mention Grey Gardens, which I realize isn't pop/rock, but still something from the last decade. Some other examples of modern, stronger lyrics, (IMO of course) could include Next to Normal, Caroline, or Change, LaChiusa's Wild Party, Avenue Q and the best lyrics I heard all year- February House.

For the record I don't think Lauper has written complete trash or anything. I think it was just a very safe, somewhat bland score. No risks were really taken, nothing overly innovative, clever, etc. It was just alright for me; I'm glad you found more to like than I did.

[bwayphreak234]

Posted: 3/6/13 at 2:40am

I had little interest in seeing this before reading these thoughts... Now I have no interest.

[Up In One]

Posted: 3/6/13 at 1:46pm

Bwayphreak. Why so?

[Mister Matt]

Posted: 3/6/13 at 2:32pm

I never want to dislike a show (who would?)

Oh, I can think of two people almost immediately. They seem to love disliking shows and even more, ridiculing and demeaning those who like the shows they dislike.

[GilmoreGirlO2]

Posted: 3/6/13 at 5:09pm

For the record, I greatly appreciate Whizzer’s detailed reviews and the follow up comments. It is nice to get real discussion going in threads.

I haven’t seen it in NYC, but saw it in Chicago and from this thread, it sounds like much of it is unchanged – a real disappointment. It definitely had potential (and I enjoyed myself seeing it), but not enough depth to stick with me. I had a fun time at the theatre, but had a hard time recommending it to anyone else.

“Porter sang well (though his big number sounded like only half a song, not allowing the audience to fully grasp the melody), but all his scenes in drag were so affected and forced, there was simply no range, nuance or depth. He just spoke all his lines in CAPITALIZED ITALICS because ALL DRAG QUEENS only have TWO DIMENSIONS, DARLING: DIVA AND BITCH. Which may be true on stage, but full-time drag queens (which this show implies Lola to be) often speak conversationally off-stage. … I honestly don't see a Tony for Porter unless it is a particularly weak category this season. I thought Gregory Haney did it better in Bring It On.”

I could not agree more with this. It was, perhaps, my biggest issue with the show. People seemed to absolutely love Porter, but I could not connect (or, honestly, even like) his character because I was unable to see any real depth from him. And, even when the show calls for seeing a different side than Lola-the-drag-queen, I felt like we still only saw a very surface version of Lola. Also agreed about Gregory Haney as LaCienega in “Bring it On” (a performance that I think that proves a perfect comparison to Porter’s Lola and what, I feel, Porter and the creatives of “Kinky Boots” seem to be striving for, but just aren’t reaching yet).

[LimelightMike]

Posted: 3/7/13 at 5:44am

How high is the stage for this show? Does the set pertrude out at all?

[Phillytheatreguy10]

Posted: 3/7/13 at 8:08am

I know I already asked, but to no avail...so again, what is the seating like in the Hirschfeld, if I sat on the outer aisles in the orchestra will I miss anything? Any obstructions? Please advise, those who have seen it.

[WhizzerMarvin]

Posted: 3/7/13 at 9:20am

Phillytheatreguy,

I haven't been on the outer aisles of the Hirscheld for this production, but have for others. The sightlines were not wonderful; things happening far upstage were obstructed and I missed a few entrances and exits. How to Succeed was especially tough because so much happened on that back wall they created.

Most of Kinky Boots is played downstage though and the side factory walls angle in toward the audience so maybe the set designer took all this into account. From past experience I would opt for different seats if a slightly obstructed view will bother you.

[After Eight]

Posted: 3/7/13 at 9:25am

Mike,

I don't know how high the stage is, but the set does not protrude from it.

Philly,

I haven't sat in those seats. For past productions at that theatre, rush seats were sold on the extreme sides of the orchestra. I don't know if they were restricted to only certain rows. I was told they were in the main very good, but you did miss a corner of the stage.

[BrdwyThtr]

Posted: 3/7/13 at 1:32pm

What has rush been like this week? I'm gonna try for tomorrow and wanted to know how early to arrive.

[WiCkEDrOcKS]

Posted: 3/8/13 at 12:18am

Just out of sheer curiosity, where have the TDF seats been for this?

[April Saul]

Posted: 3/8/13 at 12:50am

Wicked, I went Wednesday night and the guy on the ticket line behind me had just been given a TDF seat for the mezz. I strongly recommend Audience Rewards for this one; I gave them 500 points and $42 and was in the 10th row orchestra, much better deal if you're familiar with that website.

[djb]

Posted: 3/8/13 at 1:56am

Updated On: 11/28/22 at 01:56 AM

[Serpentstoooth2]

Posted: 3/8/13 at 12:13pm

I saw this last night, got a single rush and ended up on the end of the front row which was a perfect view. I agree this is very derivative (full monty, priscilla, billy elliot, set looked like Sweeney, also random Once irish bar moment) but it's fun and will appeal to the masses, it's certainly no contender for Matilda. I would say I probably enjoyed Hard body a bit more because it was slightly less predictable. One thing I haven't seen anyone mention and it could be just because I'm a Brit on vacation but the accents were so shockingly bad that it really destracted me for most of the show. They were all bad but the women were the worst. I don't know why they didn't transplant it to the USA like they did for Full Monty because I don't think it's too location specific. Also some of the lyrics and dialogue sounded jarringly American eg 'gotta get out of Northampton town' and people saying 'I don't have nothing' etc it just felt like it was made by a bunch of people who have never been to Northampton even though I know Mitchell payed the town a visit last year.

Updated On: 3/8/13 at 12:13 PM

[Jordan Catalano]

Posted: 3/8/13 at 12:49pm

Does anyone know how much this has changed from Chicago?

[Marlothom]

Posted: 3/8/13 at 1:03pm

Jordan - the changes are small. Mostly the book, which now connects the dots more clearly for the audience (a smart move, I think). It also better establishes Charlie's struggle with following in his father's footsteps and making his own path and ultimately deciding to stay to save "the friends he grew up with." They have changed one of Lola's numbers to mirror Charlie "laying off" some employees, and changed some costumes. Finally, they have fleshed out the Nicola character a bit more, but it's still slim, and I still wish they'd invest more time developing the romance with Annaleigh's character, including another song for her or duet in Act 2.

[Younger Brother]

Posted: 3/8/13 at 1:08pm

Can someone post a song list please?

[Godolphin]

Posted: 3/8/13 at 1:34pm

I also noticed the problem with the accents, Annaleigh Ashford was the most noticeable imo.
I was thinking that she should forget the English accent all together because it was so bad, one minute Dick Van Dyke cockney the next up north somewhere the next New Jersey.

[ClumsyDude15]

Posted: 3/9/13 at 3:35am

Act I:

"Price & Son Theme" - Full Company.
"The Most Beautiful Thing" - Full Company.
"Take What You Got" - Harry, Charlie, Company.
"The Land of Lola" - Lola, Angels.
"What Else Can I Do/Bad Girl" - Lola, Angels.
"Step One" - Charlie.
"Sex Is in the Heel" - Lola, Pat, George, Ensemble.
"The History of Wrong Men" - Lauren.
"I'm Not My Father's Son" - Lola, Charlie.
"Everybody Say Yeah" - Charlie, Lola, Ensemble.

---

Act II:

"Entr'acte/Price & Son - Theme (Reprise)" - Full Company.
"What a Woman Wants" - Lola, Pat, Don, George, Ensemble.
"In This Corner" - Lola, Don, Pat, Trish, Ensemble.
"The Soul of a Man" - Charlie.
"Hold Me in Your Heart" - Lola.
"Raise You Up/Just Be" - Full Company.

Updated On: 3/9/13 at 03:35 AM

[ClumsyDude15]

Posted: 3/9/13 at 3:44am

A few quick things:

Rush - I got my ticket at around six o'clock and was D 15 on the left side of the orchestra - great view, missed a few entrances, but a great seat nonetheless.

The audience was living for this - so much energy and buzz, and plenty of tourists among the usual previews crowd.

I very much enjoyed the show, I thought Cyndi's work on the score was pretty good (although one song did sound an awful like True Colors in the beginning, and Lola's eleven o'clock number reminded me of something Whitney Houston-esque). That being said - I had a ball, and the cast is having just as much fun up there, and it shows.

It was nice to see Stark in a much lighter role than that of Tunny in American Idiot, and I thought he did a great job. Billy Porter was divine - he really worked the role and did (in my opinion) a nice balance of being this fierce entity and the boy behind the glitter. I'm a sucker for stories about fathers who don't approve of their sons (for personal reasons), so a lot of his and Charlie's stuff with their fathers hit close to home. One thing that really struck me was when Lola is performing her eleven o'clock number, and when it ended, she walked over and shared a moment with her elderly father in the wheelchair.

-Loved Annaleigh and her big solo was a hoot.
-The younger Charlie and Lola moments with their fathers during the finale was just so sweet and touching.
-LOVED the pre-show announcement done by Daniel Sherman (Don).
-I loved this show a lot more than Priscilla last season.

Updated On: 3/9/13 at 03:44 AM