broadwayhereicome3 said: "Hello all,What did you like? What didn't you like? What would you pick as your top 1 or 2 option(s)? Also any info on rushing these shows (ease of getting tickets, seat location, etc.)? Thank you in advance!
Bandstand
A Bronx Tale
Charlie and the Chocolate Factory
Groundhog Day
Natasha, Pierre & the Great Comet of 1812
Sunset Boulevard
War Paint"
I've seen Groundhog Day, Great Comet, Sunset Boulevard, and War Paint.
I'd skip War Paint unless you're a big fan of the two leads. Their vocals are amazing, but I thought the story and score to be disappointingly weak.
Great Comet is a quirky show with uniquely immersive staging, an eclectic score, and a huge cast that seems to be constantly running around the entire house to rearrange themselves in various tableaux. There's a lot of energy and a couple of standout performers (Lucas Steele and Amber Gray), but some have found it confusing (myself included) and overall it didn't quite merit the high ticket prices for me. Based on the often loud and frenetic score throughout most of the show, I expected the end to come with a bang (it didn't) rather than a whimper. If you see this, don't worry too much about seating; the staging works hard to keep everyone involved.
Groundhog Day is a tour de force for Andy Karl. The first act is largely comedic and the second act takes a decided turn toward the serious and thought-provoking. The score and the set are often whimsical (if you saw Matilda, you know this is something Tim Minchin does well) and the lyrics run the gamut from witty to gut-wrenching. I loved it. If you see this, avoid the mezzanine at all costs unless you're very short; there is virtually no leg room (it was downright torturous), there's not enough rake to see over the rows in front of you, and the only restrooms are downstairs.
Sunset Boulevard is a tour de force for Glenn Close. This production foregoes the detailed mansion set of the original and instead utilizes a movie studio sound stage concept consisting of winding, industrial staircases and catwalks that remain fixed throughout the entire show, while smaller set pieces are rolled on and off by the performers as needed. The huge orchestra is situated onstage, beneath the catwalks, and produces a glorious rendition of Andrew Lloyd Webber's sumptuous score. The entire company is strong, with Fred Johanson being a standout as Norma's major domo, Max. The finale is legendary. If you see this, try to avoid upstairs seating, as the Palace Theatre is quite large and the mezzanine and balcony seem like they're in another zip code. In the orchestra, I'd also avoid the first few rows because the stage is wide and you'll feel as though you're sitting in the first row of a movie theater.
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Updated On: 5/12/17 at 11:22 AM
