LEOPOLDSTADT Reviews — Page 3

cotous6 said: "Does the show offer rush tickets?"

The rush tickets are $35. When I was was getting mine for one of the Wednesday matinees, I arrived to the box office around 9:20am, one person in front of me. By the time box office opened, there were about 10 people altogether. Our seats were in the orchestra, row N, far side. I didn't really miss anything, but would prefer to sit closer to the middle.

https://parterre.com/2022/10/11/street-scene/

"Stoppard never lingers on a character or storyline long enough to develop it into something worth caring about."

Found this somewhat ambivalent review/discussion of this play on Parterre Box this morning. I know the writers there can tend towards the negative. I haven't seen the play myself, & won't get to see it before it concludes its run. I was only browsing the site to read their take on Seattle Opera's just concluded run of Tristan & Islode. They reviewed the first performance, & I just saw the last performance Saturday. I disagreed with their take on the lead soprano Mary Elizabeth Williams; but as I saw her final performance, & perhaps she grew from when they saw her. I thought she was sensational.

Just mentioning all that because although I found this review interesting enough to share, if you had a better experience with Leopoldstat than these people did, I am not trying to diminish your delight.

I am surprised every time that someone says they are devastated by Leopoldstadt's last scene. It was the only scene I did not love. First, I felt that the 15 minutes where the young Stoppard discusses with the other two people his discovery and its implication was just too Cliff Notes. I felt that last scene could have been a full-length play. I felt the same was about A Doll's House Part 2; I felt it was a great outline for a play, but that it was just an outline, not a play. I was entertained but it just seemed so glib to me, I felt the same way here. IT could have been much more than it was. The very ending, where we learned what happened to all the people who were alive in 1938, was very food, but it didn't make up for the prior minutes. If the scene had to be so Cliff Notes, I would have staged it differently. I would have had the 'ghosts' on-stage for the entire scene...for me, the first part may have played better.

Still, I thought it was an excellent play, with a disappointing ending. But still an excellent play.

Now, I do have some thoughts that my party of three may have been the only people who felt that way. In this world of standing ovations for crap, this show did not get a standing ovation at the end and the applause were not noticably strong. I can't even remember the last time a show didn't, which is why they have lost their meaning.

There are two options only: either the audience was really disappointed with the play or, more likely, they were so hit by the end that they didn't think it was appropriate OR the idiots who start these standing ovations were simply not at the play. I have seen countless shows where the audience is sitting and then some idiots in front start standing, which creates a ripple effect so people can see. I suspect the middle option is the case, but really wish the people sitting up-front would stay in their seats.

Did Leopoldstadt ever officially announce an extension? Telecharge is selling tickets March 12.

My understanding is Stoppard didn't know he was half-Jewish till he was in his 50's.

Jarethan, your comments closely match mine regarding this play. It struggles to grab a hold of an immense idea and settles for a more comfortable family drama with laughter and tears and then a cataclysmic crisis in Act 4.

I was flummoxed by the play spending so much time on the cuckhold/duel story rather than the essential point of the Stoppard stand-in discovering his Jewish identity in Act 5.

Also, from 3rd row in the mezzanine it was a real challenge parsing which character was which from act to act. I could have used a more theatrical staging of the play where during the act changes, each child actor could touch hands with his adult counterpart, or each young parent could embrace his elderly counterpart, simply to lead the audience more clearly through the generations.

I saw this over the weekend and am still thinking about it. My grandparents and great uncle escaped the Holocaust so this hit close to home. This is just so well done and I hope everyone has a chance to see it.

The production emailed me a family tree and article a few hours before curtain. I really wish they had sent that a few days in advance instead because it would have been helpful to have had some time to review all of that without rushing through it. The family tree is also in the Playbill but it's towards the back so I didn't see it until after the show. It's just helpful for remembering all the names and relationships.

Anyone care to summarize how bad the far side seats in orch/mezz are? Before I spend $200/pop, the far side seating is basically half price, and wondering how much is really missed.

Someone in a Tree2 said: "My understanding is Stoppard didn't know he was half-Jewish till he was in his 50's.

Just want to make a slight and respectful correction to your understanding as to what Stoppard knew and didn't know (or chose not to know) about his Jewish identify as it is a main impetus for writing the play. Per Stoppard's own writings and the Hermoine Lee's biography, Stoppard vaguely knew growing up that his father came from a Jewish family. What he learned in his 50's was that he was fully Jewish-- both sides of his family. At that same time, he learned that both sets of grandparents, a great-great grandparent and three maternal aunts died in the concentration camps.

Has anyone rushed lately? How busy has the rush line been? Thinking of trying for one of the Black Friday shows so not sure how early to get there.

I rushed last Thursday. Arrived at 10:30 with no line.The seat was in the balcony obstructed view due to a pole. The person one row in front of me (also obstructed) mentioned that she had been first in line for rush.

I think the second balcony seats in the Longacre are better than most other theatres. In fact, I prefer the balcony to the back half of the mezzanine e, because the mezz has too shallow a raise. I always buy aisle seats if I sit in the cheaper seats, and did so here. I was always comfortable because I could stretch out a little.
i was just not prepared to pay for the orchestra, especially given what was left, and I felt that I got a real bargain.

Ptero2 said: "How are the Balcony Right seats in the Longacre? My lottery seat is in Row E of that section, hoping it's not too bad."

Finally got to see this tonight. Wow is all I can say. The previous post nails my thoughts precisely.

This play will be with me for a long while I think. It’s stellar.

Sidenote: walked up to the box office at 5:15 pm (7 pm performance tonight) and got Orch G, dead center seats. They weren’t listed on telecharge. A perfect view.