IdinaBellFoster said: "ACL2006 said: "didn't see it mentioned yet, but Kate Reinders is the u/s for Schumer & Benanti. A Broadway name and I'd be curious to see her go on for either one."
I believe Benanti has one or two scheduled absences so Reinders should get to go on."
Nice! I'll have to look for those dates.
A Chorus Line revival played its final Broadway performance on August 17, 2008. The tour played its final performance on August 21, 2011. A new non-equity tour started in October 2012 played its final performance on March 23, 2013. Another non-equity tour launched on January 20, 2018. The tour ended its US run in Kansas City and then toured throughout Japan August & September 2018.
Where would one find info on Benanti's scheduled absences? I checked the official B'way website and the Telecharge site and found no mention of scheduled absences. Did I miss something? Is there another resource? I have tickets for 11/20 and I primarily chose this show because I am a Benanti fan!
Last night she came out of the stage door and looked past people asking her to sign and kept walking. The stage door was a lot of older people who I imagine don't follow her on instagram or know her position on the topic. They thought it was rude and said things like: well that wasn't nice and who does she think she is and I'll never pay money to see another show she's in again.
While I think these are extreme views and I don't agree with them...I thought it was ironic that someone who made a point to say she would not stagedoor exited the stagedoor. Also, a few days ago a quote of hers was published within an article about rude audiences (http://nypost.com/2017/11/04/actors-say-rude-audiences-are-destroying-broadway/ which I agree with-I'm so mad they let people into the theater with noisy wrappers and drinks like it's the bloody circus). So, in the same week she's part of an article addressing audience rudeness she was kind of rude to audience members. Maintaining optimum health is a tough thing to navigate especially with an autoimmune disease. I get it, but, one of the most germ riddled, bacteria laden spaces NYC has is the subway system and she rides that.
The stage door can be a strange place and it's not for everyone, people avoid it for various reasons. I'm not judging her for not doing it. I found the contradictory nature of it comical after she announced she wouldn't be doing it.
"I thought it was ironic that someone who made a point to say she would not stagedoor exited the stagedoor."
What, is there some secret tunnel out of the Booth that you know about? Or do you expect her to sit in her dressing room for an hour to wait for the vultures to fly away?
A. There really isn't any other way to exit the booth. It's a tiny theater. She either exits through the house - which might be a better option, given she could just hop in a car and go.
B. I doubt she's too concerned with people's comments. I'm sure she knows that is what's going to happen.
The woman does not owe anyone anything past the performance she is giving on stage. She's a human, she has to leave the theater.
"Oh look at the time, three more intelligent plays just closed and THE ADDAMS FAMILY made another million dollars" -Jackie Hoffman, Broadway.com Audience Awards
I went to the fourth preview and Keegan-Michael Key did stagedoor! He was very sweet and enthusiastic. He seems like he's having so much fun doing the theater thing at last.
Laura exited the stage door like people said but smiled at everyone and waved so I don't know how anyone could say that she was being rude about it. Jeremy Shamos came out last but did the same thing Laura did. I don't know if he'll stagedoor in the future. Amy Schumer either did the 'waiting inside' between shows or they escorted her out through the house.
Most people didn't know about Amy and Laura not doing the stage door but I assume they'll catch on. It's a shame that people are already reacting nastily to it.
If I'm remembering correctly, I believe The Shubert, The Booth, The Schoenfeld and The Broadhurst all connect to a small alley that divides and or connects (depending on how you'd like to look at it) The Broadhurst & Schoenfeld from the Booth & Shubert theatres. The alley runs parallel to Shubert Alley. I thought not doing the stage door meant she would exit there or through the house to avoid it all together.
I thought not doing the stage door meant she would exit there or through the house to avoid it all together.
They shouldn't have to sneak out if they don't want to sign. People should just respect their choice and not get bent out of shape about it.
"You travel alone because other people are only there to remind you how much that hook hurts that we all bit down on. Wait for that one day we can bite free and get back out there in space where we belong, sail back over water, over skies, into space, the hook finally out of our mouths and we wander back out there in space spawning to other planets never to return hurrah to earth and we'll look back and can't even see these lives here anymore. Only the taste of blood to remind us we ever existed. The earth is small. We're gone. We're dead. We're safe."
-John Guare, Landscape of the Body
"If I'm remembering correctly, I believe The Shubert, The Booth, The Schoenfeld and The Broadhurst all connect to a small alley that divides and or connects (depending on how you'd like to look at it) The Broadhurst & Schoenfeld from the Booth & Shubert theatres."
The Schoenfeld, Jacobs, and Golden share an alley/exit, but I'm not aware of anything shared by the others you mention. There is an alley between them, but I don't know of doors that open into it. I think the only way out of the Booth is the stage door or the house.
Jimmy said, " It's a simple dramatic device. And this is a farce people...I mean you really didn't get that? But they very clearly tell us when it was set and then later replay the same evening but cleverly show us what would have happened if certain events would've gone a different way. Completely easy to follow."
I'm glad you're such an expert on theater. I asked a simple question. Glad it was easy for you to follow. Other folks expressed disappointment in the ending and Martin's writing. I'll await reviews for a professional opinion. I racked up >50 shows in 6 months this year so I have a lot of shows to compare Meteor to. But I wasn't looking at a mirage as I saw patrons bolt for the door at its end before the curtain calls. And orchestra seats below face value on StubHub speaks loudly. I liked the performances but questioned the plot and written delivery.
saw show at today’s matinee and I am not sure what to think. I found myself laughing and enjoying it then two minutes later wanted it to end already. While I am in my 40’s and enjoy Amy and Michael and Laura in their previous works I am not sure how this is going to play long term.
FYI, Show running time is barely 80 minutes on subway by 3:30 with a curtain going up at 2:10.
lastly, show up at on TKTS at 50% off at 1:00. Theatre full but deals are out there for off days and times
Yes, it's very easy to exit the Booth on 45th St. There is an alley between the Booth and the Schoenfeld. She also has the option of using a back door into the Broadhurst and going out 44th. Just providing the info. I don't care what she does at the stage door.
Got out 45 minutes ago. i laughed my way thru but at the end felt somewhat unsatisfied. It’s bizarre to simultaneously enjoy something but also wish it was more. I don’t know how i feel.
Side note, my mezz seat initially cost $139. i got it on stub hub for 1/3 of the price... two hours before curtain. You can see this play on the cheap. Once it warms up a bit later in previews, i think it can win me over.
**SPOILERS** It’s way more absurd than i thought it would be. Typically I’m all for absurdist if it has a payoff. But there were a lot of things (cannibalism? Heroin use? Brain explosion?) that just never came to a head. It’s like a funny version of If/Then (and therefore more enjoyable). Or like, if If/Then was a Noel Coward play.
I’m also single and gay and this play is about a couple who’s been married for years. So maybe there was lots of subtext i was missing. But not really — i get the idea behind competition between couples, or the idea of there being “the fun couple” and feeling like the boring one, and this plays into that.
To be honest, i think my biggest problem was Schumer in the first act. Without nailing the first half, the foil of the second half isn’t nearly as satisfying. She was a total hoot in the second half (i was really howling at her little dance—best time step ever!!), but without making he audience really feel her insecurity in the first act, the second half is just fun and games and nothing more. She was just a little too at ease, which makes letting loose Norm dies... not much different. She lacked tension. I hope she’s able to get there before the show opens.
To answer the question about how she knows the meteor will strike—i think it’s just a missed joke on Schumer’s end. It’s a fantasy. She’s supposed to know, and play it close, in this fantastical “what-if” scenario of how this could go perfectly. And i think with some work she can nail it.
i love Amy Schumer and i really want her to nail this. i hope she gets better over time and elevates the material a little bit.
I saw the show as well and thought it was uproariously funny (though ultimately unsatisfying). The absurdist structure takes a little bit to kick in, but once you get what's happening, you're just hooked for the fun (and FAST!—it went by so quickly!) ride. The writing is just hilarious. There's not a lot of meat to it, but that's perfectly fine with me. It's just entertaining.
I enjoyed Schumer much more than I expected to, though I agree with raddersons that she needs to zero in more on her character in the first half in order to make her payoff that much more satisfying.
I think Benanti deserves at least a Tony nomination, if just for the delivery of her opening line alone.
In the end, as many have said, there isn't a payoff or something in the end that you would expect to fill you up after 90 minutes of craziness. It just kind of comes to an end. I wasn't too disappointed, since the 90 minutes that preceded it were just so good, but it felt like it deserved something more satisfying to close it out with.
Either way, I highly recommend this show, even though I think there are some spots that warrant some greater focus during these next few weeks of previews.
^^Yes BC, looking back I forgot to mention: I laughed a LOT. It's a very funny show, with some pretty hysterical, very weird moments. I just think it could use a little tweaking and it would really sparkle. edit: I'm wondering if it's as big a Schumer issue as I previously stated as it is a direction issue.
brian1973 said: "Maybe the truth is Benanti doesn’t want to play second fiddle to Schumer at stage door... let’s face it, way more people are there for her. That’s not to put LB down... just the way it is.."
I disagree. Theater people are most likely drawn by her over Shumer.
lm121362 said: "brian1973 said: "Maybe the truth is Benanti doesn’t want to play second fiddle to Schumer at stage door... let’s face it, way more people are there for her. That’s not to put LB down... just the way it is.."
I disagree. Theater people are most likely drawn by her over Shumer.
"
My Mom and I wanted to see this to see Laura Benanti. Well that, and my Mom likes Steve Martin’s comedy. I like Amy Schumer but she was not the draw for us. She is the only one who received entrance applause, though, so, a lot of people are definitely there for her.
I recently caught this. While it was not what I was expecting in the slightest, I really enjoyed it. This is definitely an absurdist piece of theatre. I'm going to have to keep this review short, because I really do not want to give anything away. I think part of the fun in seeing this is not knowing how the events of the play will unfold from a structural standpoint. The cast is top notch. The main reason I went to this was for Amy Schumer and Laura Benanti (I am HUGE fans of both of them), and they did not disappoint at all. This will not be for everyone, but I, personally, thought it was very clever.
"There’s nothing quite like the power and the passion of Broadway music. "