NETWORK Reviews — Page 2

It is, and I would not expect that to change. But I don't think these reviews will shift it into overdrive.

I agree these reviews won’t help (or likely hurt), but it sold 101% of its gross potential last week and it’s already closing in March (unless it plans on extending) so isn’t it already in overdrive?

A rave for Bryan and the production.

http://www.newnownext.com/musto-broadway-network/12/2018/?xrs=synd_twitter_nnn

Network has been extended through April 28. If you want on stage tickets, get them ASAP as they are very limited.

Saw it tonight. Cranston is really the glue that holds this whole operation together and you can see how much it completely sags when he goes off, even briefly. He honestly deserves every award out there for taking an iconic film role and creating a thoroughly fresh and riveting portrayal of a man in the twilight of life who is falling to pieces.

I thought Goldwyn acquitted himself nicely, but Maslany is another story. She only had two modes, bland and raging. There was zero nuance and transition in between those moods. I saw none of that drive and raw ambition and cunning that made Dunaway almost a perfect corporate sociopath.

The production was, admittedly, cool, but there were quite a few times where the big screen and whatever happened to the picture were unnecessarily distracting.

I would recommend this for Cranston alone, but the sheer amount of sterile polish and artifice that some production elements have threatens to derail it all

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FANtomFollies said: ""The production was, admittedly, cool, but there were quite a few times where the big screen and whatever happened to the picture were unnecessarily distracting.

I would recommend this for Cranston alone, but the sheer amount of sterile polish and artifice that some production elements have threatens to derail it all"

I agree with some of your points but I would really argue that you missed some of the major intentions of the production. The screens are absolutely supposed to fight for your attention (and they very often win).

"

Hmmm...That does make sense

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I saw the play this past Thursday night and agree with what appears to be the prevailing sentiment. Cranston delivers a breathtaking, riveting performance that makes him the favorite for the Tony, but the rest of the play is just meh. My feeling at the time and now is that the structure of the play would have been enhanced by dividing it into two acts rather than a one act two hour play. There is a natural break right at the end of Cranston's meltdown "I'm mad as hell and I'm not gonna take it anymore" on-air rant, when Meslany yells "We've hit the jackpot." A cut to black at that moment would have produced an incredible end to "Act I", but instead the play meanders awkwardly forward.

And awkward is exemplified by having the audience constantly urged to become part of the show by YELLING the famous line. I mean, could they not achieve the desired effect without demanding our full throated involvement, and then, of course, when the audience wasn't loud enough the first time to be forced to do it again (and again)?. Talk about cheap thrills.

By the way, in the days leading up to the show, we received no less than four emails from Telecharge informing us that the show would start at 7 sharp and to get there early but then, guess what? The show started at 7:08 just like every other show on Broadway.

And to make it all worse, someone's damn cell phone rang and rang and rang during the most dramatic part of the play. It came from the last row in the orchestra so I doubt it was heard by anyone on stage.

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Miles2Go2 said: " I got signatures from Nick Wyman, Goldwyn, and Cranston. First two came out relatively quickly. Others (Frank Wood, Ron Canada) came out, maybe waved then headed out. Waited about an hour for Cranston. We were told the rules: he has a sharpie so no holding a writing implement, he’d only sign Network items, no touching him, his assistant would use your phone to take the pictures of you with him. What you have heard is true. He was very nice. He stayed untileveryone had got to meet him."


I had much the same experience at the stage door. Nick Wyman didn't really seem like he wanted to sign so i didn't bother him.. Same experience with Wood and Canada. Maslany was out the night I went so I ended up with Goldwyn and Cranston. It took a little over an hour for Bryan to come out but was well worth the wait. As with you he was incredibly gracious, signed and took photos with everyone and I didn't get the memo about touching cause after he signed my playbill and I told him how much I enjoyed both this and his performance in All The Way, I got a handshake from him. Again, he couldn't have been more gracious not just to me but to everyone. Overall, I enjoyed the play. Having seen the movie years ago, I basically knew what to expect. It's Cranston's show and he doesn't disappoint. Had the same angle as you from the second row of the Right Mezz, but with the screen right in front of me, didn't feel like I missed anything important.

Miles2Go2 said: "Pretty tired so going to try to keep recap of tonight brief. During the show, I wasn’t sure how I felt about the production as a whole. I was seated in Right Orchestra L18. So couldn’t see far right side of stage including bar scene and restaurant patrons. Also, could only see 60% of the big screen. Still would consider this a good seat. Didn’t feel like I missed anything critical. Bar scene was on screen and so was one main scene involving diners.

The things that caused mixed reactions during the show: bright lights on stage almost gave me a headache, the show is to a degree about superficiality and it doesn’t traffic in making its audience feel comforted. After the show, I came to appreciate these elements (other than the bright light, which I can admit does go along with the tv setting). Also, while the scene outside the theater is cool, it was distracting that modern day cars were driving by as play takes place in 70’s. I also found the presidential video montage at the end unnecessary.

I actually found the supporting cast uniformly mostly fine. I do agree Goldwyn plays young, but he actually will turn 59 in May while Cranston will turn 63 in March. Goldwyn just looks younger than his age. I didn’t mind Maslany’s performance. It probably helps that I’ve never seen the movie so I have nothing to compare her to.

Now for the best part. Bryan Cranston is giving a masterclass in acting at The Belasco 8 times a week. He simply blew me away. His “I’m Mad As Hell” scene is one of the greatest theatrical performances I have ever witnessed. I’d say he has the Tony Award on lock.

This is not a show for those who prefer a modicum of comfort. That’s why I felt uneasy during the show and came to appreciate it more after.

I bought the mug and magnet.

Now for those who think people who stagedoor are the spawn of Satan, you can kindly stop reading now:

Due to buying merch, I may have missed anyone who came out quickly to stagedoor. I got signatures from Nick Wyman, Goldwyn, and Cranston. First two came out relatively quickly. Others (Frank Wood, Ron Canada) came out, maybe waved then headed out. Waited about an hour for Cranston. We were told the rules: he has a sharpie so no holding a writing implement, he’d only sign Network items, no touching him, his assistant would use your phone to take the pictures of you with him. What you have heard is true. He was very nice. He stayed untileveryone had got to meet him. I was able to tell him it was like watching a masterclass in acting. I actually started tearing up as I told him. I’m such a sap. Lol. Overall, a very good night at the theater with one phenomenal performance. I was worried perhaps most about this of my 7 tickets as it is so polarizing. I’m happy to say it exceeded my expectations.

And yes, I failed to keep this brief."

I'll be there in 2 weeks, I can't wait! Enjoy the rest of your trip!

Ugh I hate that feeling!! I'm only seeing 2 shows my next trip, which doesn't feel like enough. What else do you have planned this week? I'm hoping to stage door for Network as well so it sounds like the process was well organized

Mike Barrett said: "Ugh I hate that feeling!! I'm only seeing 2 shows my next trip, which doesn't feel like enough. What else do you have planned this week? I'm hoping to stage door for Network as well so it sounds like the process was well organized "

Monday - Fiddler 7:00
Tuesday - The Band’s Visit (7:00)
Wednesday - Network 7:00
Thursday - Kiss Me, Kate 8:00
Friday - The Ferryman 7:00
Saturday - Superhero 2:00
Saturday - DEH (8:00)

Miles2Go2 said: "Mike Barrett said: "Ugh I hate that feeling!! I'm only seeing 2 shows my next trip, which doesn't feel like enough. What else do you have planned this week? I'm hoping to stage door for Network as well so it sounds like the process was well organized "

Monday - Fiddler 7:00
Tuesday - The Band’s Visit (7:00)
Wednesday - Network 7:00
Thursday - Kiss Me, Kate 8:00
Friday - The Ferryman 7:00
Saturday - Superhero 2:00
Saturday - DEH (8:00)"

What a great trip! Enjoy The Ferryman, I still haven't gotten over it!!

^ Actually, no. Nearly every scene in the play alternates a thrilling scene with Cranston with a deadly dull scene with the TV execs, overlords, Diana, Max, Max's wife, etc. And I heartily agree with JBC3: those non-Howard Beele scenes were flat flat flat.

I know I'm pretty late to this party; we just caught the evening show last Saturday (with the full original cast in attendance). Question #1: if they want us to focus so much on events of 1974-75 (the Hearst kidnapping, the Ford presidency, etc.), then why the hell are they so flippant when it comes to period design all over the stage (the suits are wrong, the ties are wrong, the video cameras and flat screens everywhere are VERY wrong, the 3-D motion graphics on the megatron for The Howard Beele Show are absurdly obviously wrong. Make the show period, or make the show contemporary: either would work, but not deciding is just sloppy.

Question #2: Why ignore the sightlines of half your audience? Putting the control room onstage is inspired. Putting the "restaurant/bar" onstage is a useless waste of space that virtually never gets used. (I'm ignoring the early bar scene which was staged wholly offstage and only visible on the megatron.) From our seats in mezzanine left we stared most of the night into the faces of the bored restaurant patrons wishing they had just rotated the control room enough for everyone to see inside.

Here's our bottom line. There were 2 plays onstage at the Belasco that night: the electric live wire show when Howard Beale was onstage surrounded by some brilliant mise-en-scene with live feeds that had us breathlessly on the edge of our seats; and the static dull as dishwater sequences when the secondary cast had the floor. If Ivo Van Hove really wanted to keep us uncomfortable, he succeeded beyond his wildest dreams.