My (very long) WIW review - (possible spoilers)

[chernjam]

Posted: 11/12/05 at 3:06pm

Well I finally was able to see a new musical by Andrew Lloyd Webber in almost a decade (I did see, and enjoy By Jeeves, but ALW fans know that wasn’t really a new musical).

The verdict - it was worth the wait... in short - I really enjoyed it. There are a few problems, but let me get the accolades done:

The Cast:
First off, the cast was phenomenal. Maria Friedman returned Thursday Night (I saw Friday Nights performance) and if you hadn’t heard anything in the news, you wouldn’t have known she had gone through what she had gone through. Vocally she was stunning, and acting she was fantastic. “I close my eyes – and I still see his face” still runs through my head. Whereas in the last ALW mega show (Sunset Blvd) we had an incredibly acted performance by Glenn Close, here is an actress who does Lloyd Webber’s music justice. What surprised me was what a stellar cast here - not a weak performance at all. Jill Paice and Angela Christian sound (in comparing to the recording) to truly have grown into their roles and made them really their own; Adam Brazier sounded a lot better than his London counter-part. Ron Bohmer (who I enjoyed in Aspects of Love) had his role down perfect - not too “over the top” Villian, not too “cunning” early on – people seemed surprised that he turned into such a villian after the “honeymoon” which I credit to his balanced approach to the role. Walter Charles as the Uncle also impressed me - more comic than his counterpart in London sounded and in the end more of a sympathetic character.

And then there’s Michael Ball - while it’s a shame his role isn’t “bigger”, it truly is awesome to see him on a NY stage again, and he was perfect in it. While I know some wanted Crawford to reprise here to make up for his last debauchery, (Dance of the Vampires), it seems to make sense to have a younger Count Fosco.

The Story:
I only knew the story from the Original London Recording, and I didn’t think I was going to be able to stay with it for an evening. But it truly plays better on stage than it does simply in listening to it. I found myself truly engrossed in the story, which is hard when you know what the secret is (as opposed to my 3 guests). I think they’ve made some good cuts and revisions which made it move at a better, tighter pace. It’s true you have to stick with it through Act I - there’s a lot of character/story development that goes on – you kind of have to realize that this is a big - dramatic story that required you investing your mind into it (rather than purely being entertained) but it does pay off in Act II. Part of the reason it works better onstage is because of the staging...

The Sets:
... okay, now I’ve been reading for a year how blurry, dizzy, stupid these sets are. So that was the preconception I walked in with. I found them incredibly innovative. I mean, it really helped propel the story, and added to the atmospheric nature of the musical. The sets, the feel - my guests said you really felt you were in England. While it’s true, we wouldn’t want every show to do this, that’s true of every new, innovative thing we’ve seen onstage, no? Would we want a levitating, hydralic mansion? Would we want a crashing chandelier? I think the sets have been maligned when we should be crediting the crew with trying something new and different to help tell a story.
The Music:
I’ve had the recording for a year. It’s true, you don’t have a lot of standout songs, but I’m more convinced that’s because the story is as dark and dramatic as it is. Andrew Lloyd Webber has written some truly gorgeous music here. Trying Not to Notice, Evermore without You, All For Laura, I Believe my Heart - they are all beautiful songs, and the comic songs, the plot songs all work. And the changes they’ve made to the score since the London debut (and recording) help that a lot - I don’t miss “If not for me, for her” (nor it’s reprise) at all, the minor changes to “I Believe My Heart” worked well as did “Evermore without you” and it’s reprises (those worked much better in fact).

A suggestion to those who haven’t seen it, buy “Phantasia” and listen to the Woman in White Suite. It familiarizes people with the music without spoiling the story and I think gives people a much better appreciation of the music from this.

The Problems/observations:
Do I think it will challenge the runs of Phantom or Cats (the latter still inexplicable to me)? No. But it definitely deserves a decent run, a financially successful run, and some awards to the creative staff. After Spamalot, Scoundrels, Avenue Q, Jersey Boys, Mama Mia, etc. etc. I liked being engrossed in a show’s story and truly taken with what was happening onstage. I saw LaBoheme and hated it - even though I liked being challenged to stay with the story and focus on what was happening. The Woman in White is truly operatic in it’s composition and challenging people on that level to stick with the story, but I think it’s worth the ride, and one that I will take again.

I do think the ending is problematic, but could easily be rectified. Marian’s final scene should be the final scene. There’s no reason to see the wedding and have the country folk do their harvest dance out of church. We realize Walter and Laura are running off, and I kind of like Marian saying “now I’ve got a secret” as a conclusion with the reprises of Trying not to Notice (by far my favorite song from the score) with Evermore without you.

Overheard:
There were a few people behind me who at the end of Act I seemed to really not be enjoying it, and they made it known. At the end of Act II, they had completely changed their mind and said they thought Act II was much better and that they liked the show.

My mother and the two other guests seemed at the end of Act I quite taken with the story and the staging. By the end of Act II, they said they really liked the show (although didn’t think the music was up to a “Phantom” standard). Yet, when they listened to the “suite” from Phantasia, they seemed to have a better appreciation - which brings me to my (finally) conclusion

This is not a Phantom, Sunset, Aspects... people like those shows for different and various reasons. The Woman in White is a dark, deep story. It’s hard to appreciate all of the beauty in it with such a serious storyline. Those comparing the music from this to Phantom are forgetting we’ve heard and listened to Phantom for over a decade. When you’re approaching something that’s this new and different (after so much musical comedy) it is new and different. And observed as a whole, after some time to think about it, leads me to say, it’s one of Lloyd Webber’s greatest.

[sharon1]

Posted: 11/12/05 at 5:15pm

Glad you liked it so much. I really hate waiting til after Christmas to see this show.

[jo]

Posted: 11/12/05 at 5:32pm

I'm glad to note that this musical is being appreciated for its many good elements. It would really be a pity to miss such an excellent stage production.

I have seen it in London - but I am coming back for more of the same ( ..er, with some changes) on Broadway

[EganFan2]

Posted: 11/12/05 at 5:33pm

I don't get it...why would people expect all his shows to be like Phantom?

Anyway, I am so glad that people ended up liking it. I cannot freaking wait to see this show.

[mysterychix]

Posted: 11/12/05 at 5:47pm

I was there last night as well (my second time) and this time sat in row C (vice row P the first time). I must say that I'm not sure if it was due to the fact that I had seen it before (and therefore knew the story), or due to the fact I was up so close, but I really didn't notice the projections all that much (I loved them the first time) because I was so focused on the performance. It was actually a great seat and I really enjoyed the performance.

Maria Friedman is just incredible...I admire this woman so much for "going on with the show" in light of the past two weeks -- she just did an incredible job, and as always Michael Ball was a delight as Count Fosco.

I must confess upfront to being a Ron Bohmer fan, and last night he took my breath away at one point during the document scene -- really was impressed at how well-done Glyde's loss of control was played out.

I only really have one gripe and it's something completely silly -- I had trouble the first time I saw the show in that I couldn't figure out how Walter and Laura met and fell instantly in love. Someone then explained that that happened "over time" and that the entire length of the show from start to finish captures a calendar year. Ok...well then riddle me this...why do the leaves on the trees in these beautiful projections never change color and fall off? There's only one scene where there are no leaves on the trees, but in all the others, they are big green leafy trees...I know it's not a "big deal" but you figure on a fancy-shmancy computer system they could at least change the colors of the leaves.

[Caleb]

Posted: 11/12/05 at 6:53pm

I find it very interesting that this show is garnering such polarizing opinions from different posters. There have been very few people who were just in the middle on it.

I also find it ironic that an Andrew Lloyd Webber musical is being criticized for having too much story. Never thought I'd live to see the day.

I have the CD, and I'm going to see the show in December. It's a far more challenging show in many ways than ALW's previous work. It requires a real investment, intellectual and emotional, from the audience.

My only quip, and this will be a spoiler, so be warned, is that the big secret is supposed to be really damning to Glyde, but the audience hates him already. I hated him when he was trying to steal money from Laura. Call me crazy, but my opinion of him doesn't really change when I find out he raped Anne and killed her baby. I hated him before I knew, and I hate him after.

I hope people give the show a chance. It's very well crafted and is more ambitious than several Tony winning shows.

[YayJudyYayJudy]

Posted: 11/12/05 at 7:14pm

In response to EganFan- I'm not sure why there are so many similarities to Phantom, but at times they are similar... esp. during WIW's "Trying Not To Notice" when it clearly resembles some verses of Phantom's, "All I Ask Of You."

However, in terms of plot- I do agree that there is a lot of "story" in it- but that's one of the reasons I loved it- and why is that a bad thing? I fell in love with this show- the music, the characters, the story... it's incredibly challenging-emotionally and mentally. And I really hope that people understand that, and that it's successful... it deserves to be, it's fantastic

Updated On: 11/12/05 at 07:14 PM

[442namffug]

Posted: 11/12/05 at 8:25pm

I think I've said this before (understatement ):

Can.Not.Wait.To.See.This.Show.!

[AnotherDay46]

Posted: 11/12/05 at 8:32pm

Wonderful! So glad you liked it! I've seen it a few times and it is good to see others who enjoy it, opposed to people who hate it. I love the projections personally - I think it helps the story move along. Ahhh *love* ^_^

[chernjam]

Posted: 11/12/05 at 8:54pm

reading some of your responses, I could have summarized my review with this, it's probably ALW's most sophisticated (in terms of music, story, etc) works. If you liked Aspects and Sunset, you'll probably appreciate WIW. If you're waiting for another Joseph, stay away...

[Yankeefan007]

Posted: 11/12/05 at 9:27pm

id hate to be at the performance of WIW where the projection system breaks down, and, assuming its computerized, can only project the "Windows is now shutting down" screen.

[Chrysanthemum62001]

Posted: 11/12/05 at 10:45pm

I enjoyed the show. At times, the scenery gave me motion sickness. The train was incredibly retarded. I was very dissapointed with that. But, the story is brilliant, and the music (mainly the trios and All For Laura) are beautiful. Oh yes, Angela Christian gave me chills. And I saw Lisa Brecia instead of Maria. Lisa is incredible. The job should have been hers altogether.

[jo]

Posted: 11/12/05 at 10:55pm

Not that I'm denigrating Lisa's talent - but if you haven't seen Maria in the role - how can you say Lisa should have the role instead?

[EganFan2]

Posted: 11/12/05 at 10:57pm

>> only really have one gripe and it's something completely silly -- I had trouble the first time I saw the show in that I couldn't figure out how Walter and Laura met and fell instantly in love. Someone then explained that that happened "over time" and that the entire length of the show from start to finish captures a calendar year. Ok...well then riddle me this...why do the leaves on the trees in these beautiful projections never change color and fall off? There's only one scene where there are no leaves on the trees, but in all the others, they are big green leafy trees...I know it's not a "big deal" but you figure on a fancy-shmancy computer system they could at least change the colors of the leaves.

I am kind of glad you mentioned this. I was at either the Detroit Institute of Arts or Toldeo Art Museum and looking at a painting of trees in autumn. Now I don't recall the time period it was from, but the plaque next to it said that paintings of trees in autumn (with the colored leaves) were hugely popular in Europe (I'm guessing this included the UK) because the leaves didn't change colors there. So that might be the reason. Does anyone else happen to know? I've not been to the UK in the fall.

[Chrysanthemum62001]

Posted: 11/12/05 at 11:03pm

I have the cd. Maria has some belting issues that results in her being at times under pitch. The fact that they brought over a woman from London to play the part becuase she's and established performer slightly aggrivates me. Especially when there is a great American who can do the job here. There would have been nothing wrong with keeping Maria in London, and letting Lisa do the job here.

[kec]

Posted: 11/12/05 at 11:10pm

Chrys, I hope you will see Maria in the role before passing final judgment. Keep in mind the cd was recorded on opening night, which was in September of 2004. Whatever "issues" she may have had that night have surely been resolved. I don't recall hearing anything wrong with her pitch when I saw the show in London.

[Chrysanthemum62001]

Posted: 11/12/05 at 11:18pm

I'm taking my best friend to see the show in December. She adores Michael Ball, so I know she will love it. I'd like to see Maria, but I wouldn't go back specifically to see her.

I just wish they would figure out a better way for that stupid train....

[kec]

Posted: 11/12/05 at 11:36pm

Gotta say that train made me jump every time I saw it, even though the second two times I was expecting it!

[YayJudyYayJudy]

Posted: 11/12/05 at 11:39pm

Kec- agreed. Even though I knew it was coming- I couldn't help it, it's just so overwhelming. Next time I want to sit back and see how everyone else around me responds

[Fosse76]

Posted: 11/13/05 at 12:26am

I dislike the first act. It's very hard to follow and some of the scenes didn't make sense. One of the problems I had is the fact the set is ALWAYS changing. It is very distracting.

[chernjam]

Posted: 11/13/05 at 6:30am

Anyone know for sure if they are recording a Broadway CD?

For those who were asking about what they were selling, in terms of CD's... they are selling the original Double CD in two formats, the one with the Libretto and the other one with the Broadway artwork, and no Libretto - but it's the same CD's.

[AnotherDay46]

Posted: 11/13/05 at 7:25am

Yankeefan007 - I was at a performance where the set didn't work for a scene, you heard the conductor shout - GO BACK TO 64! 64! So instead of the screen turning they just walked through the doors and did the scene on the other side. That resulted in no picture on the screen for that part, but it really wasn't that big a deal. People who didn't see the show before didn't realize it was not working, and it was working properly again later.

[adamgreer]

Posted: 11/13/05 at 10:24am

Chernjam, thank you for clearing up the confusion about the CD's. I was one of the people wondering what the difference between those CD's was when I saw the show.

The point about the ending is well-taken, I think. I think the show would have been much better off ending with Marian and the last reprise of All For Laura. We know Walter and Laura are going to get married, there's no reason to end a show like this with the happy wedding scene. Ending with Marian's last song would have brought the audience to its feet. Instead we got the ensemble skipping about singing that harvest song.

[mikewood]

Posted: 11/13/05 at 10:26am

I guess I shouldn't start another WiW thread:

The Woman in White was a tepid exploration of Andrew Lloyd Webber at his most self indulgent. The show had brilliant performers specifically British imports Maria Friedman and Michael Ball. However, ultimately a performer can only be as good as his source material.

Webber assaulted the audience with his worse habits in terms of hackneyed dialouge and cloyingly annoying puns and plays on words. Some of his forced rhymes would have embarassed Hallmark wannabe Adam Sandler in Mr. Deeds. Now, of course, uncomfortable lyrics and dialogue to make you go "Eeeeeeew." is a Webber trademark. We received it ample supply. However, usually ALW will give that awesome signature song, a "Memory" or "Don't Cry for Me Argentina", that resonants forever.

This show lacks that signature song.

The so called "plot twists" in the show are telegraphed early and often. I won't give away spoilers for the unperceptive out there, but if you don't seem them coming... well, I've got a great Hardy Boy mystery for you.

The set design was brilliant and innovative. At first, I was taken back. The show was digitally projected on moving screens that would take you in and out of rooms either through the interior or through the exterior. I was really impresed initially, and then I had brief time where I was like "Okay, this is nice but it's a gimmick and I'd like to some set pieces. If I don't get some set pieces, this is going to be really distracting." Then I got my set pieces and all was good in the world. The gimmick that I thought I would get old real quickly became more and more interesting and explorative as the show went on. My only real complaint was a train sequence near the end, which in and of itself was totally brilliant. However, it was ill-timed and an open door at the wrong time detraacted from the big climax of the show.

Ultimately, I am glad I saw the show. I was disappointed in the book of the show and the music was derivative but Lloyd often steals from himself. However, Miss Friedman and the set were worth the price of admission.

[adamgreer]

Posted: 11/13/05 at 10:30am

Mikewood, you know ALW didn't write the lyrics right? Andrew Zippel is the credited lyricist and should be blamed for some of the horrendous rhymes.