LEMPICKA closing May 19- Page 3

[MezzoDiva47]

Posted: 5/3/24 at 3:50pm

yyys said: "The book, score, choreography are all bad - it's really mind boggling how this got to Broadway!"

this

but it is another example where if you have the producing money you can literally will a show like this to broadway regardless of the quality of the material

countless shows with superior quality never make it to broadway simply because those involved lack the connections to producers and dollars

in this case it feels like a vanity project because when all is said and done audiences cant be told what they are supposed to like

the verdict is in

 

[Melissa25]

Posted: 5/3/24 at 4:09pm

See it.

[dearalanaaaa]

Posted: 5/3/24 at 4:21pm

hearthemsing22 said: "Does anyone think this has a future regionally or anything, or is it DOA?"

I was just thinking of this! On a tour front, this productions set doesn't lend it to touring whatsoever. It's very chaotic and large and I'm not sure how well it could tour because of that. The demographics for this show are limited but interesting (LGBT women, art afficionados, tastemakers) which means it could have a healthy run in a place like Los Angeles or Atlanta, but I can't imagine elsewhere.

Licensing this show would be a good angle, but I'm not why why people would choose this over a piece like "Fun Home" or "The Prom" for LGBT shows about discovering yourself as an adult. I suppose having the rights out there won't hurt, but it won't help much either.

The use of a cast recording to extend the life of these would need to be used in conjunction with the licensing to ensure that people have their eyes on the show, and could give the opportunity for some rewrites. 

Definitely this show, if it wants to continue being on life support, needs a fix in the pacing and an audience that is interested. I've never been in a theater as empty as this Wednesday's matinee, event Aint No Mo's crowd had more life, and people were getting up to leave in the middle of act one. Also, they should use a Lempicka work in the advertising, or an inspired piece. all the black & whites yet she show is colorful visually- show that!!

 

 

[LYLS3637]

Posted: 5/3/24 at 4:28pm

I'm bummed about this one. Not that I thought it was any kind of game-changer, but I found Lempicka much more engaging and entertaining than most new productions this season (and some from last season too).

And I still don't understand why the historical inaccuracies had so many critics outraged-- as if Amadeus and Evita aren't riddled with dramatic license (or The Sound of Music and Hamilton for that matter). Criticism of the book and character development I completely understand (and mostly agree with), but to knock this show for historical inaccuracies felt kinda like a double standard to me.

[The Distinctive Baritone]

Posted: 5/3/24 at 5:02pm

The character of Rafaela is a fictional composite, and from what I gather, the main storyline about being “in love with two people at the same time” is pretty much made up, so that’s pretty glaring, I’d say. It had some good songs though.

[PipingHotPiccolo]

Posted: 5/3/24 at 6:01pm

i agree that the backlash and derision here were way overstated- its score is very solid and is performed wondrously. it deserved a tony nomination as much as the book did not. 

but the historical inaccuracies are frustrating--- Evita took lots of creative license and whitewashed the Perons' fascism (and flirtations with nazis) but the core story was solid: power hungry woman rises up out of nowhere with military husband, country falls in love with her. 

here the core story is flimsy: she wasnt in love with two people at once or if she was, it wasnt with a woman and her husband, it seems she cheated on her first husband primarily with her second. to create this tragic origin story for her second marriage is galling-- as is turning Natalie Joy Johnson's character into a lesbian hero when in reality she was a Nazi collaborator who was punished for it by the French after the war. All of this smacks of TRYING TOO HARD, which fits nicely with the overall problem with the show.

still, id probably enjoy sitting through it again for the music, for Abud, for Leavel at the end.

[Charley Kringas Inc]

Posted: 5/3/24 at 6:16pm

BroadwayNYC2 said: "That’s what frustrated me the most about this. What was fearless? What was groundbreaking? Yes, representation is important but so is producing quality over a vibe. Let’s call it what is was, a campy inoffensive musical that wasn’t particularly great to begin with. Lets not pretend is was anything more than that"

I think the way they tied Lempicka's arc to the broader fascist futurism movement was really compelling, and made Beth Leavel's number at the end really moving because it was operating on multiple levels. On the one level, it's a simple plea by the Baroness to be remembered as she is, but it's also the step Lempicka needs to bring humanity back into her art, and on top of that it's a question of what we carry from one generation to the next, which essentially rebuts Marinetti's refrain to "erase the past". I really respected that they were able to braid all of those themes together so effectively, even if the path to get there (and the following denoument) was messy.

[kdogg36]

Posted: 5/3/24 at 6:23pm

MezzoDiva47 said: "in this case it feels like a vanity project because when all is said and done audiences cant be told what they are supposed to like"

I'm curious as to why folks are saying this feels like a vanity project. It has a legit director and designers and Broadway stars attached and has been worked on for years. Just because it flopped on Broadway doesn't retroactively make it a vanity project. I know some on this site who saw it out of town were very much looking forward to it.

[verywellthensigh]

Posted: 5/3/24 at 7:24pm

I guess critics and audiences...didn't lem-picka this one.

EEE-YAAAAAAOOOOOOOOOOOOOOOOW!!!

[Theater3232]

Posted: 5/3/24 at 8:17pm

Show was way too long (needed at least a 30 min trim), much of plot difficult to follow (too much plot), and no songs that really wow'd me.

[Robbie2]

Posted: 5/4/24 at 12:39am

CoffeeBreak said: "Amber Iman SHOULD be the winner of the Tony. Whether or not that happens who knows... Sorry, Hell's Kitchen and boring Suffs -She has the most material, thebest vocal and acting of the supporting nominees this year, hands down."

 

Bebe, Kecia & Lindsay have a far better chance in winning over Amber and out of the 7 nominees I would put her in the bottom 2.

[bear88]

Posted: 5/4/24 at 4:52am

The ‘vanity project’ discussion is interesting to me. I was actually very curious about this show for a variety of reasons, including Chavkin’s involvement because I really liked her previous Broadway musicals, Amber Iman, and what sounded on paper like an intriguing show. I never saw it and won’t get the chance, but the ‘vanity project’ label can be applied to many of Broadway’s most iconic musicals. 

That said, it’s becoming very tough for new musicals without stars or established intellectual property to find an audience. Every show that lacks one or both of those things feels like a vanity project now. It doesn’t matter if the show gets critical acclaim or a Tony Award. I hope that changes soon.

[CurtainsUpat8]

Posted: 5/4/24 at 9:49am

She was under pitch in much of Gardens of Annuncia.  To me it's a placement thing going on.... but she was pushing and in trouble back then. To be honest, I also thought she was incredibly boring in the show. It was painful for me to sit through because of her singing. It really turned me off from seeing Lempika. She sounds great on the clips I have seen, but almost everyone is commenting on her pitch problems, so I can't believe it disappeared. . I can't sit there for two and a half hours listening to someone sing flat.  I would have gone if I knew her understudy was going to be on.

[steven22]

Posted: 5/4/24 at 12:01pm

Looks like Kyle Brown is on at the matinee for Andrew Samonsky. I’ve been looking forward to seeing this show as I haven’t seen Eden live since Wicked in 2006! We’ll see how this production goes! 

[B212323]

Posted: 5/4/24 at 12:16pm

That’s why her nomination was so surprising to me. You’d think singing on key would be the floor for performing on Broadway. 

[steven22]

Posted: 5/4/24 at 3:52pm

I went in expecting to hate it. I actually really liked it. I wish I could make it to the show again before it closes. 

[DiscoCrows]

Posted: 5/4/24 at 4:32pm

Went back again today for the matinee and still really like it. It’s a very flawed piece but I kind of like that the production has embraced that on the basis that it’s too late to really make it work on Broadway. The music is so fun and pretty but irrevocably unsustainable — Eden is great in the role but both times I’ve been it has sounded as though she is really, really pushing herself to her limits. I am so excited to listen to the OBCR where it’s hopefully a bit more polished (and again, the songs are SO tuneful and lovely IMO) — but hearing Woman Is live, I mean I feel like I’m just clenching the sides of my seat the whole way through because it sounds like she’s so close to giving out. No disrespect or disservice to her — she’s a great performer and it’s a shame the music just teeters on what sounds like a near-impossible vocal composition. I’m surprised she doesn’t at least have an alternate.

LuPone was in the orchestra section, small applause when she came in pre-show and she took some pictures with fans. Very sweet of her.

[quizking101]

Posted: 5/4/24 at 5:56pm

I was also there this afternoon and the show has grown on me. Not that it will supplant any other show as my favorite, but I just take it for what it is - history with a heavy dollop of (unintentional and intentional) camp.

I saw LuPone and took a brief picture with her. She was nice and I was afraid to approach her initially because I try to always be so mindful of boundaries. Thankfully, it didn’t result in her swiping my cell phone 😂

[binau]

Posted: 5/5/24 at 1:45pm

This show is a beautiful, campy love letter to queer culture, people who love women and women in musicals, diva worshop, high musical sensibilities lavished with a sparkle of alcopop, vibrant, crazy colours and design, New York, taking and testing the limits of the human vocal capability. People need to stop thinking so much and let the pure aesthetic, sounds, design and feelings take over. What has been created on that stage is beautiful. I know it is hard to feel against the crowd but ignore those that can't see it and appreciate the beauty. No one has anything to be embarrassed about. It's ok to LOVE this show. 

[dramamama611]

Posted: 5/5/24 at 2:02pm

Except it's ok not to, as well.  You found beauty in in and that's great, but that doesn't mean that didn't are wrong.

[Robbie2]

Posted: 5/5/24 at 3:47pm

CurtainsUpat8 said: "She was under pitch in much of Gardens of Annuncia. To me it's a placement thing going on.... but she was pushing and in trouble back then. To be honest, I also thought she was incredibly boring in the show. It was painful for me to sit through because of her singing. It really turned me off from seeing Lempika. She sounds great on the clips I have seen, but almost everyone is commenting on her pitch problems, so I can't believe it disappeared. . I can't sit there for two and a half hours listening to someone sing flat. I would have gone if I knew her understudy was going to be on."

100% - I stated similar when I reviewed it:

She-Eden has pitch issues and was often flat not only singing this but throughout the whole show! We did not get to hear the same voice nor was I as mesmerized by her live performance of ''Woman Is'' as I was by the studio take. Tbh, I was happy it was intermission as I needed a break from hearing her sing! I would love to experience and will only go back to see it again with Mariand Torres as Tamara but will she ever go on? Lempicka we found to be a mess not great and listening to a female lead with pitch issues along with singing mostly flat does not make for a great evening at the theatre

As for her standbye Mariand Torres: when i saw it again with Mariand it was more enjoyable as she was refreshing to see in the role and did not sing flat or have voice control pitch issues. She's a powerful singer and hope to see her again in something soon.

[TheatreFan4]

Posted: 5/5/24 at 9:14pm

binau said: "This show is a beautiful, campy love letter to queer culture, people who love women and women in musicals, diva worshop, high musical sensibilities lavished with a sparkle of alcopop, vibrant, crazy colours and design, New York, taking and testing the limits of the human vocal capability. People need to stop thinking so much and let the pure aesthetic, sounds, design and feelings take over. What has been created on that stage is beautiful. I know it is hard to feel against the crowd but ignore those that can't see it and appreciate the beauty. No one has anything to be embarrassed about. It's ok to LOVE this show."

I don't think anybody who loves Lempicka needs to be told that it's okay to love it. Some of the positive responses I've heard are so hyperbolic attesting to that fact. You're also not doing anything wrong by highlighting it's problem areas. It's not 2018 anymore with a regional production charging regional prices working out its kinks. It's Broadway and it's Broadway prices on a show that is almost 15 years in the making.

That they made it this far is commendable, but this show desperately needed a dedicated BOOK Writer. Not the composer and lyricist doing it. Or rather let the book writer focus on that instead of the lyrics (Carson Kreitzer) given that the original concept of the show is hers and she is a playwright and not a lyricist.

The only thing that I took away from this show was basically the music, which I really enjoyed. I hope to see it again before closing, but we'll see. Very much anticipating the cast recording. 

[hearthemsing22]

Posted: 5/13/24 at 10:52am

dramamama611 said: "Except it's ok not to, as well. You found beauty in in and that's great, but that doesn't mean that didn't are wrong."

I hate the attitude some people have of if you don't like the show they love, you are automatically wrong or called out for not liking it. They imply something is wrong with you or your theatrical taste if you don't like a show. And that is so completely wrong of them. Everyone is entitled to like or dislike whatever they want. It's how they phrase their dislike, don't be a jerk. 

[binau]

Posted: 5/13/24 at 2:13pm

Yes but I think think the nuance of the problem you are talking about depends on the show and its perceived status in popular opinion. For example, if people don't like Sondheim shows they can do exactly you suggest - call people out and suggest there is something wrong with the person or even be condescending (e.g. they do not have sophisticated enough tastes). I'm happy to accept guilt for this in the context of defence of Sondheim but I don't want people to take it so personally.

HOWEVER, in the case of Lempicka it's a completely different context - the popular discourse right now is negative, and I think people would be embarrassed to say they actually like the show because it goes against the popular opinion. It's the opposite issue - by saying you like the show there is almost a suggestion that people are unsophisticated because they like.

So I'm more arguing for the second scenario not the first - I think there is brilliance in this show, this score. It might not always work, but I don't feel it's the last we've heard of the show or composer. I think this show might become a kind of cult flop. Or at least, I hope it does. I think the material is too good - and I think any issues with Eden's pitch will be easily disguised with some studio magic. 

I suspect/hope this will become one of those flops like THE BAKER'S WIFE or CARRIE or another show where the score gains a bit of a following. 

[60'splayoff]

Posted: 5/13/24 at 2:24pm

I just needed to vent about how insufferable this fan base is. I actually enjoy the show, have already seen it a handful of times and took a friend over the weekend. It ended up being a miserable experience thanks to this "look at me watch the show" group. I understand deeply connecting to a production but when your response is so over-the-top and performative that you negatively affect patrons around you- idk I feel like they're alienating the very thing their beloved musical needs in order to succeed. I'm probably giving them too much power, but it was just a very frustrating situation- my friend spent more time distracted by them than actually taking in Lempicka. The mouthing of the lyrics, the audible gasping and whipping around to look at each other when a performer made a new choice, don't even get me started on the LOUD weeping. From the rush line to the performance, I overheard a lot of "this show is for the queer community only!" As someone who identifies as lgbtq+, they made me feel uncomfortable and embarrassed.

Updated On: 5/13/24 at 02:24 PM