Official Bernadette Peters in Hello, Dolly! performances thread — Page 19

I do wonder how much the early controversies would have contributed to a perception that Bernadette didn't pull off the role well - here was a hyped revival with a star-director and actress (and for 2003 standards it appeared to be a hot ticket) - that right from the beginning had an opportunistic journalist ready to create controversy there was "trouble". Then, due to unfortunate co-incidence with her illness in many ways he was 'right' with Bernadette missing at least 9 early performances! Had this narrative not existed I do wonder whether her performance would be perceived differently. She was 'following' Tyne Daly, not Patti LuPone! Did anyone care that Tyne Daly could barely sing the role? And of course years later no one cared that Staunton sounded unpleasant in the role. I didn't see Bernadette live, but based on the Lincoln archive, Tony performance and cast recording it's funny to look back and see that while stretching her to her maximum capabilities, the hype around her lack of vocal ability was a little exaggerated.

Updated On: 2/14/18 at 04:33 PM

I saw Peters do opening night in GYPSY and it is one of the most electric nights I've ever had in the theatre. She was absolutely sensational. And her reviews were raves. Riedel, as he very candidly explains in this Post article, thought from the onset she was miscast in the role and when she was out in previews brought out his pitchforks. He had a vendetta against her that entire season and he kept it going long after her raves came out. I maintain he (or at the very least his concentrated negative efforts) cost her the Tony. I have no idea what his deal was back then. But it was the height of his 'power' and he used it for bad. A lot of people didn't forgive him - as he again candidly states in this new Post piece.

QueenAlice said: "I saw Peters do opening night in GYPSY and it is one of the most electric nights I've ever had in the theatre. She was absolutely sensational. And her reviews were raves. Riedel, as he very candidly explains in this Post article, thought from the onset she was miscast in the role and when she was out in previews brought out his pitchforks. He had a vendetta against her that entire season and he kept it going long after her raves came out. I maintain he (or at the very leasthis concentrated negative efforts) cost her the Tony. I have no idea what his deal was back then. But it was the height of his 'power' and he used it for bad. A lot of people didn't forgive him - as he again candidly states in this new Post piece."

It's funny to go back and see him say " I especially enjoyed my dear friend Bernadette Peters’ lovely “In Buddy’s Eyes.” I assume this was also a subtle reference to the same incident. It's a little bit creepy haha.

https://nypost.com/2011/09/14/avoiding-financial-follies/

I find Laurents' commentary on the 2003 revival really interesting - he made a big deal that the 15 seconds of darkness after the overture with the stage hand sweeping the stage (introducing the rather pointless 'concept' ) meant that the show 'lost the audience' (seems a bit of an exaggeration). He then goes on to complain that the show didn't work 'without walls' - especially the hotel manager scene. The LuPone production appears 'without walls' so he decides to just cut the hotel manager scene I believe (which he also said he wanted to cut since the 1989 revival - maybe he could have offered up his advice to Mendes).

He complains about the aesthetics of the production but due to necessary and wise cost saving of course his own LuPone revival wasn't exactly known for this either.

Can't help but feel he was a bit of a control freak/didn't like his hands off. It's not as if this was a Terry Hands/Carrie situation. Was Laurents ever public about his dislike for the production during its run?

Updated On: 2/14/18 at 05:50 PM

No matter how good she maybe .... there will be a dip in the Box Office as she isn't as well known/loved as Bette Midler is to international tourists. Sure she'll do well intially...but once the domestic following dies down how will she sell? I can't see too many people crossing the Atlantic or the Pacific Oceans to see her as they did for Midler.

Quick question from those who know better - we're planning to see Dolly but the mezzanine is almost fully booked up for the date we are going, so we're looking at orchestra. One of the possibilities is the second row, left orchestra (the first two seats on the inner aisle, closest to the center area). Has anyone sat in these? We've already seen the show twice and it would be fun to see it from a new perspective, especially being that close to the performers, but I just want to make sure we don't lose out too much in terms of visibility, especially in regards to stage height.

CT2NYC said: I'm sure those are great seats, especially if you've already seen the show. Someone from this board sat in C 2 (2nd row on the aisle, right orchestra), and he was able to shakeBette's hand during the curtain call. Although I haven't sat there, I wouldn't hesitate to, if given the opportunity."

I knew you'd have an answer for me CT2NYC...thanks so much!

Opening Night tonight!!! I can't wait to see the official reviews tomorrow

CT2NYC said: "If any of the board regulars will be at the show tonight, and would like to say hello, please let me know!"

I wish I was cause you are a cutie.