Hey folks, sorry to post and disappear. I hope more people got the chance to see the show today!
I havent seen little women but do you think they did a good job at appealing to a diverse audience? I think this might actually be a slight problem. As I looked around the audience and saw the vast majority of women, it seemed clear to me that they're going to have a hard sell with the male half of the population (other than those with a deep appreciaton for the theater already, that is), simply because the core theme of the show is sisterhood and is clearly aiming at sentimentality above all else. It will appeal to a large age range of women, I'm sure (the women next to me was probably in her 70's and sighed quite loudly in appreciation - and I'm 28, so there's a bit of a taste of the age range possibilities). I can see men being dragged against their will and maybe enjoying it as a guilty pleasure, but not necessarily being their first choice for theater going.
And Tell Me Who is this Hot Young Australian Composer Boy you are with? What has he done? He's an international man of mystery is what he is. LOL You'll more than likely start hearing a lot about him in the coming year and in an effort not to jinx his compositions/show(s) before they come to fruition, because I'm superstitious like that, we're keeping him under wraps for now! Though I can say he did compose for the Olympic ceremonies in Sydney (and tonight at the dinner table, but that's another story...).
As for crying, I did tear up a few times and depending on your instinctual level of emotional reaction, I'm sure there will be quite a few wet eyes in the house (no they don't show that part, btw).
I, however, very much enjoyed the score. It's not so much that I disliked it, because I didn't, as much as it's not a score that sticks out, dramatically speaking, very clearly in my mind. But I think that's a good thing, because I also think it's a score that flows together much more coherently than a lot of shows on Broadway right now, which just seem to randomly throw songs with no tonal commonality between them between dialogue.
Oh- and a question- did they take out "Most Amazing Thing" (or something like that)- the song between Laurie and Amy? It's still there and I agree it's a bit of an annoying song, but then again I think I find adult Amy even more annoying than child Amy, because she still speaks exactly the same and the audience is meant to believe she's become a woman while away. I think what also weakens "Most Amazing Thing" is "Take a Chance on Me". The Laurie/Jo scenes and songs are some of the strongest of the show and I think the Amy/Laurie scene/song become a hard sell because of it (along with the fact that we barely see them in the second act until the end).
PB ENT. unfortunately I didn't notice the musical director, as we were sort of off to the side, and all I could see was quick glimpses of his head every now and then.
I agree with you all on the casting of Amy. I noticed the diction they were all attempting, but Amy McAlexander's stood out in my mind as completely distracting. She actually reminded me of the character of Nelly from Little House on the Prairie, or like a really scary porcelain doll come to life.
"Too young to hold on and too old to just break free and run" - Jeff Buckley
Updated On: 12/9/04 at 12:29 AM
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