Posted: 11/2/16 at 2:14pm
It is true that "Natasha Alone" and "No One Else" are similar in tone and meter. Perhaps they felt like because they come so close together in the show, the impact of the second song was being lost in the vastly bigger performance space.
Posted: 11/2/16 at 2:41pm
Ah no, Natasha Lost was one of my faves. Find it again!
Posted: 11/2/16 at 4:54pm
Steve C. said: "Hi DM you'll miss a few thing but you will be close to all the orchestra action. After seeing it we think that the on stage left or right banquettes offer the best overall views. We did not see any balcony staging and someone (can't remember, sorry) said at times the balcony action is quite impressive too. But I think you will still enjoy this entire experience.
"
I've seen the show in Boston already....so I know what to expect overall. My point was: FEELING like you missed something is very different then ACTUALLY missing something. (That, for example, is being in shown in multiple places.)
Posted: 11/2/16 at 7:14pm
I saw this last night and it was my very first experience with the show. I really enjoyed it! I loved the music and the overall immersive experience, which was enhanced by sitting on stage. I had purchased on-stage seating back when the ART discount code was floating around and I was given a seat assignment of BC1. It was the third row of the onstage banquets, far aisle seat, stage right. I can't complain that much because I got a great price, but you miss a lot of action to your right, including the entire staircase in the mezzanine.
Otherwise it was a very good seat and I recommend sitting on stage - it felt special and really fun to be that close to the action. You can see how some orchestra seats are less than ideal. If I saw it again I might go for the front of the mezzanine because I think you'd get a very complete view.
We got dumplings before the show and shakers as well! There were definitely a lot of people there to see Groban, including some ladies in the bathroom line at intermission who decided to leave because they thought it was "confusing, stupid" and, my favorite "he's barely in it," which was of ironic given what they missed in Act 2. I'm not generally a Groban fan but I thought he sounded great and I really enjoyed his performance. I was also very impressed with Denee Benton and Lucas Steele as Anatole stole the show for me!
Posted: 11/3/16 at 10:06am
I really enjoyed "The Great Comet" when I saw it Off-Broadway, but I find myself both fulfilled and disappointed by the Broadway transfer after seeing it yesterday afternoon. Physically, the production fills the Imperial Theatre with surprising ease. Textually, I thought the addition of the song "Dust and Ashes" was very problematic. It seemed to be shoved into the show without much thought about how it would affect what comes before it and what comes after it.
-It makes an already lengthy Act One feel overlong. The song is such a big, long solo that I can see audience members assuming it's the Act One finale and getting disappointed and annoyed when they see there are two more scenes to go. Dave Malloy and company could have trimmed the Prince Bolkonsky and Opera sections (both were already too long) to make room for "Dust and Ashes."
-The song is in the show to give Pierre an epiphany, but because his first two scenes in Act Two are unchanged, he seems to be in the same rut he was in before he sang the bloody song.
-This is probably more of a personal gripe, but having such a big, long solo lessens the impact of "Charming," which almost immediately follows "Dust and Ashes" and is one of my favorite songs in the score.
I'm still glad "The Great Comet" is on Broadway and is performing so well. I'm just a little sad the crew actually weakened the show on the way there.
Posted: 11/3/16 at 10:20am
Was "Sonya Alone" still cut yesterday? Its a solo she normally sings right after her first scene at the opera with Anatole...
Posted: 11/3/16 at 10:26am
Michael Bennett said: "Was "Sonya Alone" still cut yesterday? Its a solo she normally sings right after her first scene at the opera with Anatole...
"
"Sonya Alone" is Sonya's solo in Act Two, which is definitely still there. I think you mean "Natasha Lost," though I don't remember that section well enough to tell. Sorry.
Posted: 11/3/16 at 11:25am
When I saw the show at A.R.T, there was a very slight nod to Hamilton added to the show. Right at the beginning of the duel, the orchestrations had the distinctive "Ten Duel Commandments" arpeggio. Is this still in the show? Personally, I really hope they've cut it. I found it to be kind of tacky.
Posted: 11/3/16 at 2:37pm
I don't recall hearing the Hamilton nod at the 3rd preview.
Posted: 11/3/16 at 3:17pm
The Hamilton nod wasn't in at Tuesday's performance.
Posted: 11/3/16 at 3:48pm
JBroadway said: "When I saw the show at A.R.T, there was a very slight nod to Hamilton added to the show. Right at the beginning of the duel, the orchestrations had the distinctive "Ten Duel Commandments" arpeggio. Is this still in the show? Personally, I really hope they've cut it. I found it to be kind of tacky. "
Did anyone notice this during the ART run? This is the first time I'm hearing of this and I've been obsessively following every single thread about Comet.
Posted: 11/3/16 at 6:17pm
Glad to hear it's not a thing anymore. i thought I remember mentioning something about it in the ART thread, but perhaps not. Anyway I'm positive I'm not misremembering the Hamilton reference itself. I was with 3 other people who heard it too, and I even asked Dave Malloy About it and he confirmed that I had not misheard it.
Posted: 11/3/16 at 6:29pm
I remember it being mentioned in the ART thread, but to be honest I have not seen or listened to Hamilton yet, so I am no help as to whether it was in the Broadway version when I saw it.
Posted: 11/3/16 at 8:53pm
Valentina3 said: "JBroadway said: "When I saw the show at A.R.T, there was a very slight nod to Hamilton added to the show. Right at the beginning of the duel, the orchestrations had the distinctive "Ten Duel Commandments" arpeggio. Is this still in the show? Personally, I really hope they've cut it. I found it to be kind of tacky. "
Did anyone notice this during the ART run? This is the first time I'm hearing of this and I've been obsessively following every single thread about Comet.
"
It was there when I saw it at ART, but it went by so quickly it didn't have a chance to land. The audience couldn't have responded to it if they'd wanted to. To really make it work they would have had to build it up, and nothing about that moment in the show warranted that. It's good that they cut it.
Posted: 11/4/16 at 8:57am
HSky said: "Alas, they didn't fit my budget for a last minute matinee pick today , but I was just at the box office and they had a few $79 onstage seats left for today's matinee.
"
This is awesome. Hopefully, they will have when I try at the box office. Does anyone know where the rush and lotto tickets are?
Posted: 11/4/16 at 9:26am
A girlfriend of mine won the lottery over the weekend. Her seats were not together and were in the rear mezz. She said it was a great experience and view.
Posted: 11/4/16 at 9:40am
James2 said: "I really enjoyed "The Great Comet" when I saw it Off-Broadway, but I find myself both fulfilled and disappointed by the Broadway transfer after seeing it yesterday afternoon. Physically, the production fills the Imperial Theatre with surprising ease. Textually, I thought the addition of the song "Dust and Ashes" was very problematic. It seemed to be shoved into the show without much thought about how it would affect what comes before it and what comes after it.
-It makes an already lengthy Act One feel overlong. The song is such a big, long solo that I can see audience members assuming it's the Act One finale and getting disappointed and annoyed when they see there are two more scenes to go. Dave Malloy and company could have trimmed the Prince Bolkonsky and Opera sections (both were already too long) to make room for "Dust and Ashes."
-The song is in the show to give Pierre an epiphany, but because his first two scenes in Act Two are unchanged, he seems to be in the same rut he was in before he sang the bloody song.
-This is probably more of a personal gripe, but having such a big, long solo lessens the impact of "Charming," which almost immediately follows "Dust and Ashes" and is one of my favorite songs in the score.
I'm still glad "The Great Comet" is on Broadway and is performing so well. I'm just a little sad the crew actually weakened the show on the way there.
"
I could not disagree more. The song seems to clarify the entire show for me and makes sense of what I once thought to be a confusing ending (in the tent). The song actually works as Pierre's "I want song" - though it's very late in the show for that. Pierre realizes that he wants to be happy, but he does not know how. He wants to wake up but he hasn't woken up yet. Therefore he is not changed in act 2 because he has only decided that he WANTS to change. He does not actually change until he sees Natasha completely broken and shares a real moment with someone who he pities. Then upon seeing the great comet is suddenly filled with wonder and joy and feels awake.
Posted: 11/4/16 at 9:53am
I actually agree with MadonnaMusical here. When I saw the show at Ars Nova, the character of Pierre was much less developed and the ending of the show was, as a result, a little confusing and lacked the impact I think it has here. That new song really helps clarify the story. The one plot point that still isn't clear to me is the reason "why" Pierre has a duel with Dolokhov. In the novel its clear this happens because Pierre suspects Dolokhov is having an affair with his wife, Helene. Maybe I just missed it, but that hasn't been clear to me in either production of NATASHA PIERRE I've seen.
In terms of the show being overlong -- I do feel like ACT 1 could use some small trims. Do we know if "Natasha Lost" is still cut? That would probably take care of the problem of too many ballads. I think "Dust to Ashes" is the more valuable song of the two in the grand scheme of things.
Posted: 11/4/16 at 10:05am
I agree with Madonna as well.
Posted: 11/4/16 at 10:32am
QueenAlice said: "The one plot point that still isn't clear to me is the reason "why" Pierre has a duel with Dolokhov. In the novel its clear this happens because Pierre suspects Dolokhov is having an affair with his wife, Helene. "
That still remains the reason for the duel. When Dolokhov and Helene are introduced at the opera, it is sung, "Helene and Dolokhov arm-in-arm, Pierre the cuckold sits at home.." The trigger for the Pierre's challenge to duel is Dolokhov's toast to "married women and their lovers."
Of course, there's more than a little bit of a suicidal desire, too.
Posted: 11/4/16 at 10:36am
Thanks for pointing it out Kad. Maybe they just need to be more on the nose by giving the audience more info. "Arm in arm" to modern audiences isn't an overt statement that they are having an illicit affair. That's the piece that is missing. That's the real reason for the duel.
Posted: 11/4/16 at 10:40am
Yes, but then telling us that Pierre is a cuckold makes it pretty clear that Dolokhov is shtupping Helene!
Updated On: 11/4/16 at 10:40 AM
Posted: 11/4/16 at 10:42am
Whizzer, I doubt many people know the meaning of the word!
Posted: 11/4/16 at 10:44am
I've never read it, but I had no problem figuring out why they duel. They are pretty flirty, and right in front of him.
Posted: 11/4/16 at 10:49am
Really, Queen Alice? That surprises me, as I think of "cuckold" as a pretty common term. I could be wrong though!
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