LEMPICKA closing May 19 — Page 4

I agree 100%. I saw Lempicka this past Sunday matinee. Sat 6th row and could not help but be distracted by the girls in the front row. Such over the top reactions. There is loving the show and then loving the show so much that you distract others from having an experience for themselves. Such attention seeking behavior is diagusting.

60'splayoff said: "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 productionbut 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 belovedmusical 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."

I can't stand when people claim shows as being for the community they identify as being a part of. It's so annoying. Anyone can enjoy a show, no one group can lay claim to it. They need to get their heads out of their- you know.

chrishuyen said: "Also as to the idea of this being for the queer community, did they ever specifically advertise to that effect (other than that one Vulture quote about Eden Espinosa)? I think there's a good chunk of people who would be interested in a bisexual/lesbian romance being played out on Broadway but I'm not sure if that was necessarily made clear (or if they wanted to intentionally keep it as a surprise)."

Not much from what I recall. It really seems like the whole "support this show about a QUEER WOMAN" tack only really emerged after the negative reviews. The marketing language was always sort of cagey about it- referring to her "lovers" and stuff, and basically all of the main marketing material only showed Eden by herself.

Look at me, look at me is killing me. Dressing thematially, claiming that the show is 'just' for a certain group, singing along, obnoxious stage dooring. Second to this (and often interwoven) is the "YOU can't do it, they worked so hard" idea. Long gone is the idea to "love the art in yourself, not yourself in the art.

Intotheblue said: "I agree 100%. I saw Lempicka this past Sunday matinee. Sat 6th row and could not help but be distracted by the girls in the front row. Such over the top reactions. There is loving the show and then loving the show so much that you distract others from having an experience for themselves. Such attention seeking behavior is diagusting.

Can confirm, as I was there also. They were obnoxious and over the top- and posted about their enthusiasm on Instagram at intermission (and Eden immediately reposted).







"

60'splayoff said: "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 productionbut 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 belovedmusical 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."



I had this same problem because I accidentally got ticket for the day Tony noms were announced. Eden's entrance applause was two minutes long... all coming from the self proclaimed "Lempickstans" in the front row. Happy for them... but obnoxious to everyone else. Figured they only have a few more shows until they're gone, so...

Re: whether the cast recording would have helped. Well they DID release that EP and a music video of ‘Woman Is’. Which to be honest is what got me interested and a few here were impressed with the song. Maybe they didn’t need to release a complete cast recording but they could have included a few more: “I will paint her”, Amber’s intro song before I will paint her (don’t know name sorry), Blasted California Sun. Maybe one of the amber/eden duets.


What surprises me most is reading comments that they didn’t like the score or thought it was all sounding the same etc. a more extensive EP might have helped people see the magic.


After 20 years of derivative boring pop scores I find Lempicka to be such an unusual breath of inspired fresh air. I’ve been ‘listening’ to it and this is a score where the melodies and patterns really do start to click, where the vocals and vocal texture are stunning, where there is a bit of heart in the context of when and why people are singing.


It’s not just ‘woman is’. The score is filled with melodic and interesting songs. I particularly love as well the lower notes of Lempicka’s character that are frequent and rare for women.

Also, some of the harmonies and polyphony are gorgeous.


It’s kind of musically a more sophisticated frank wildhorn score or something. I am quite sure the composer must love this art form and have studied it extensively. This is not a lame attempt such as Rufus Wainright’s Opening Night in London.


It’s a dense score so it’s hard to take it all in at first listen. Very surprised it didn’t get a Tony nom, but I cannot wait for the cast recording.

Updated On: 5/14/24 at 02:18 AM

The fact that they didn't release Don't Bet Your Heart ASAP is insane to me, that song gave me goosebumps from from the first note to the last.

Is Eden still having bad pitch issues? I’m debating seeing it one more time, but if she’s still super pitchy most of the time, I dont think I wanna do it.

I saw this again on Mother’s Day and while it’s really imperfect there’s enough about the show that I do like at the end of the day. Amber Iman is just blowing the roof off the place. George Abud and Natalie Joy Johnson are just giving such FUN performances. Eden is there. And I appreciate the ambition, even if I feel it often fails. I’m sad to see this go. I wish it had more time.

rivermelody said: "Miserent said: "Is Eden still having bad pitch issues? I’m debating seeing it one more time, but if she’s still super pitchy most of the time, I dont think I wanna do it."

I saw her recently and I thought she was a joy to listen to. I've heard others say same."



Far from being a joy to listen to when we attended that's also what are friends said when they saw the show as well. She was perpetually flat and had pitch issues throughout the show is what we all experienced.

Mariand Torres was a joy to listen to when we saw her!!!

Saw the show on Tuesday and can confirm Eden is very much still having horrible pitch issues. The score is merciless, but Woman Is was quite painful to witness her struggle through. So much so that I found my upper back tensed after the lights came up for intermission. The song is already written in a daringly close to unpleasant place in her voice when it’s on pitch, so when it’s not it’s really glaring. It’s absurd to me that they’ve developed this role with her for a decade and haven’t made adjustments so this doesn’t happen. I saw the show in Williamstown as well and don’t recall her having these issues, so it may just be her range isn’t what it was. And the way she’s pushing through it now won’t help it in the future either. I Will Paint Her was an also a rough go Tuesday as well. To hear Amber’s runs and clean notes was SUCH a welcome reprieve. And I was most excited for Eden finally having a role worthy of her talent.

Interestingly in an interview Eden talked about this post-closing - the reason she was doing 8 shows a week was she wanted to. She implied they offered to have an alternate even before performances started but she decided against this. However, she recognised that 8 shows was tough and said she started to wonder how she would make it through a 12-month run as originally planned. She was going to have a chat about going down to 7 shows a week and said after the Tonys maybe even 6 shows a week. In particular, she also said that she found the 1pm matinees quite difficult so I'm guessing she wouldn't have done these anymore had the show stayed open.



I've listened to an audio of the final performance and her vocals seemed to be holding up to me, a couple of pitchy moments and she just couldn't hit the E5 flat in Woman Is (teach me to LIVEEE). But still an amazing vocal performance.

Updated On: 5/26/24 at 03:37 AM