OP here. Back home after our first New York City trip in four years. My wife and I ended up seeing four shows after all, and switched from Funny Girl after Lea Michele called out, adding Shucked in its place and Leopoldstadt as a Wednesday matinee. Our hotel was a block from the Times Square TKTS booth but we didn't actually use it. Bought our Leopoldstadt tickets at the Lincoln Center TKTS booth because we happened to be in the area Tuesday afternoon (the feature of being able to buy tickets for the next day's matinee is handy for jet-lagged West Coasters like us).
Tuesday night: Shucked. I've written more on this show on the thread for it, but a few extra thoughts that may not correspond with those of others: Robert Horn's joke-filled book had a lot more misses than hits for me, but the biggest problem was that he didn't do enough humor that was based on the characters in their deliberately ludicrous milieu. (When it's allowed to happen, the actors make that work.) It's a problem with the score by Brandy Clark and Shane McNally. Too many of the songs are serious, earnest ballads, and often fail to advance the story or tell us more about the characters. The best ones go to the most interesting characters in the show, Andrew Durand's Beau and Alex Newell's Lulu. Did no one notice that the main character, Maizy, and the outsider with less-than-honorable intentions, Gordy, are rather dull - especially with each other - in what's supposed to be a riotous, goofball show? Everyone else on stage is more fun. Newell's Lulu seems like she gets the short end of the romantic comedy stick at the end, and neither Horn nor the songwriters really bother to explain why that happened - or why we should be happy for Lulu. But the actors are having a grand old time when they're given a chance, and the show does manage to pull together a satisfying-enough climax. I had a better time at Shucked than I did at the other new musical I saw two days later.
Wednesday matinee: Leopoldstadt. I thought it was magnificent. While I knew not to get too caught up with who's related to whom, it's hard not to try at times. Human nature. That said, I had fourth row center orchestra seats that made you feel like you were eavesdropping on private, family conversations. I was very impressed with almost all of the actors - from Faye Castelow as Gretl (a veteran of the London cast) to a couple of actors in their second performances, Joshua Malina as Hermann and Dave Register as Fritz, who was chilling in their confrontation over the latter's affair with Gretl. From scenes like that one to casual mentions of Ludwig's inability to get tenure as a mathematics professor in Vienna, playwright Tom Stoppard shows that the roots of the horrors to come were already there - even when the Jewish families seemed quite comfortable - and diverse enough to have a Christmas tree. I disagree with New York Times critic Jesse Green's evaluation of the final scene. Leo, it's obvious enough, is a stand-in for Stoppard himself, but I didn't interpret it as some sort of "masochistic" self-indictment. Instead, despite sounding foolish about his pride in Great Britain and failing to read the room, Leo is a young man with no memory of what happened in that apartment 17 years ago even though he was there as a young child. Nathan, as played by Brandon Uranowitz, is simmering with frustration and anguish, bouncing his leg up and down, having experienced things that Leo was spared. I found the play very moving.
Wednesday night: Sweeney Todd. I'll probably chime in on the main thread, but the revival - once you get past everyone's expectations and preconceptions for what Sweeney Todd ought to be (including mine) - is very enjoyable. Not everyone has seen every major production of this show in New York City. Some, like me, have only seen a local production. Entire main cast was in. I finally understood the commentary about Annaleigh Ashford, who I had never seen before. Yes, her vocals can get lost in the mix at times - a problem not shared by the other main cast members - but she is taking risks that pay off more often than not. This results in a flawed but brilliant performance that's a blast to watch. My main suggestion: Don't mess about with "A Little Priest." It's a wordplay song that gets funnier as it builds, but Wednesday night's show didn't really allow it to do that. I loved Josh Groban in Great Comet, but I also saw him months into the run. I don't know what he was like early in the third week of previews. He has the voice for the role and is very effective while singing; he doesn't quite manage what he says was his goal: watching a man turn into a monster. Jordan Fisher was fine - he doesn't make the show, but he's no disaster, and he certainly has an enthusiastic fan base. Gaten Matarazzo is excellent and provides a useful reminder that "Pirelli's Miracle Elixir" is an underrated song. Nicholas Christopher was very good as Pirelli, Ruthie Ann Miles is an excellent (if a bit underused) Beggar Woman, Jamie Jackson and John Rapson were good as Judge Turpin and the Beadle. I was worried that the movement would look silly, but it was fine and often effective. The orchestra, with a couple of quibbles about tempo on two songs, sounds great. By the way, my seats on the far right of Row O in the orchestra were excellent. I'd recommend them to anyone looking to pay a bit less. The audience was as raucous and enthusiastic as I expected. Watching the mad sprint to the restrooms after Act One was pretty funny. Also, it was the most diverse audience of any show I saw during the week.
Thursday night: Kimberly Akimbo. The biggest surprise of the week was the least pleasant. I hated the musical and now will have an answer when people ask questions about an acclaimed (likely Tony Award-winning) musical that they just couldn't stand. I'm not trying to persuade anyone else not to see it; I guess it just wasn't my thing. I got to the point where I was counting the "Awws" from the audience after a high school classmate said something insensitive to Kimberly or a parent said or did something terrible to the prematurely-aging 16-year-old girl, whose death is apparently imminent. The plot is as dumb as Shucked but tries to convince the audience it's saying something profound. There's a song in Act Two, "The Inevitable Turn," which was my favorite in the musical - a plausible tune about a screwed-up family trying but failing to hold things together for Kimberly during a meal - that ends with more stupid family revelations. I have no gripe with the actors - Victoria Clark does nice work, often with her eyes, as Kimberly, and Bonnie Milligan is her usual funny self - but nothing about the show made a lick of sense to me. Plus, I found it insufferably cloying. It's the perfect musical for people who justifiably hate their cruel, stupid and self-absorbed parents.
By the way, we skipped the Museum of Broadway, which is even more expensive than advertised once tax is added. It was going to be a way to kill time. Instead, we wisely had an early dinner between shows on Wednesday and beat the rush.
Updated On: 5/25/23 at 05:19 PM