Posted: 3/20/22 at 9:53am
He says a good deal more than that, but you know that already.
Posted: 3/20/22 at 10:09am
From a reliable source: A new move for the set in the second act was added post-Chicago. It's had issues; on Friday night, completely failing. Functional after a work call Saturday morning, the matinee started, and a belt that controls the automation snapped. No replacement belt was in the building. It was replaced in late afternoon, and apparently worked fine last night. Anyone go last night? .
Posted: 3/20/22 at 11:55am
Yes, set seemed to work perfectly on Saturday night. (Haven’t seen another to compare, but sets rotated.) Show ended before 10:45.
Posted: 3/20/22 at 9:00pm
I think the comparison to Parade is interesting, both have several rousing numbers, a weak book and sadly zero commercial viability.
Posted: 3/20/22 at 10:07pm
HogansHero said: "Could it be the production did not have enough money to engage top-tier people and entities for its production/technical requirements? Could it be that the production does not have enough money to fix what's broken? Could it be that no one in their right mind was willing to accept an IOU for as much as a paper clip?"
The perils of having a lead producer who hasn't worked on Broadway in this century. But also:
1) a general manager whose most recent Bway credit was lead-producing/GMing RUBEN & CLAY (which also had a significant cash flow problem of paying employees on time)...and who also hasn't worked on a Broadway book-musical this century.
2) a production supervisor who hasn't worked on a Broadway show in 15 years (another Garth person from the 90s, Peter W. Lamb) working with production manager Tinc Productions
People often ask why Broadway can feel insular and hard to break in. But being good at your job in one area of the theatre industry is COMPLETELY different than knowing the intricacies of Broadway. When you've got a big musical, you need craftspeople and agencies who know what they're doing and know how to get a show delivered on-time and close to budget. Having seasoned people in support capacities is also a huge part of "healthy workplace culture" in the theatre that people talk about so much in 2022. And the leadership has to stem from the producer.
Garth's hubris will sink this show. He had to be the biggest voice in the room, and here we are.
Updated On: 3/21/22 at 10:07 PM
Posted: 3/20/22 at 11:42pm
Auggie27 said: "From a reliable source: A new move for the set in the second act was added post-Chicago. It's had issues; on Friday night, completely failing. Functional after a work call Saturday morning, the matinee started, and a belt that controls the automation snapped. No replacement belt was in the building. It was replaced in late afternoon, and apparently worked fine last night. Anyone go last night? ."
Might this have been the scene sometime prior to the riots, where the bar interior starts facing downstage and it spins (at least) 180 degrees, and notably the two halves of the set-piece slide alongside one another thus causing the stairs to move from one side of the building to the other?
When I was watching Tuesday night that stuck out as a pretty sophisticated move and the set actually clipped itself, quite loudly. They had to completely stop the turn for about thirty-ish seconds before finishing the transition. Wasn't sure if that's what you are talking about or not but I had a hunch.
Posted: 3/21/22 at 1:15am
ErmengardeStopSniveling said: "The perils of having a lead producer who hasn't worked on Broadway in this century.But also:
The list goes on and on. A Set designer who has been away for a decade, a producer with a technical production nexus who has one of the most infamous associations with a big Broadway musical in modern history, etc etc etc
"COMPLETELY different than knowing the intricacies of Broadway."
I remember years ago being in the company of a director making his Broadway debut with a show from a solid regional theatre. He was nervous, as he should have been, and was asking for advice from a certain executive whose name I will not mention but it's now on the fixed portion of a marquee. What was the director told? "You'll be fine. Just tell all of the designers you used out of town that it had been nice working with them."
Posted: 3/21/22 at 4:08am
HogansHero said:
I remember years ago being in the company of a director making his Broadway debut with a show from a solid regional theatre. He was nervous, as he should have been, and was asking for advice from a certain executive whose name I will not mention but it's now on the fixed portion of a marquee. What was the director told? "You'll be fine. Just tell all of the designers you used out of town that it had been nice working with them."
You are an ass! There are designers with Broadway and international credits who work in Regional Theatres. I would expect a know-it-all like you would know this. Guess not!
"
Posted: 3/21/22 at 7:36am
I saw the show yesterday and there appeared to be no technical glitches...
Not bad . It's hard for me to accurately judge, as it really takes a lot anymore for me to be impressed by a new musical. I can appreciate the effort however. I mean it's not a bad score; just okay, with a couple memorable standout songs. There's a gorgeous female duet in the second act, and Joaquina Kalukango has an amazing 11 o'clock number that she delivers amazingly. To the point she deservedly got a standing ovation from half the audience when she finished!
The show is very earnest and sometimes corny but like his work in Black No More, the most surprising thing in the show is Bill T Jones' choreography, which terrifically mixes Irish folk dancing, or versions of that, with African folk dancing. It's so inventive it almost seems at odds with the basic-ness of the rest of the show...Not sure if it has a life, if I was pressed I'd say "no"... but who knows.
Updated On: 3/23/22 at 07:36 AM
Posted: 3/21/22 at 9:05am
I saw the show at the Saturday matinee with my daughter. We both enjoyed it! Definitely was more entertained than Flying Over Sunset. I am not the best review writer but wanted to share my random thoughts, as I thought there was way more good than bad.
The score was mixed for me. I found some of the songs "pedestrian" for lack of a better description. However, Save Our Home and Breathe Easy were memorable. The big 11 O'clock number was shorter than I anticipated, but still generated a partial standing ovation. Great song and delivery, but was not blown away to the degree I was expecting.
I did not have any major problems with the book. To the contrary, I found the story fascinating both historically and as a mirror to today's society. Some lines are still stuck in my head. " I am not your mirror and you are not mine" actually generated some applause when delivered which surprised me. I did not feel the first act dragged at all, but was more of a setup for the second act which definitely delivered more of an emotional punch.
The standout for me was the choreography. Holy crap. I can not remember being that mesmerized with choreography in a long time. The mixture of styles and genres was a sight to behold. Every time there was dancing, which was frequent, the stage just came alive. I would see the show again just for the dancing.
My only complaint was unrelated to the show itself, but the theater. I am not to complain as I got my ticket through TDF. We were third row in the very last two seats to the left. I am hoping that when these seats are sold they are not for full price. For a large portion of the show we had spotlights and other lighting shining directly in our faces. For the ensemble numbers it was usually blocked out, but we were often left squinting when trying to follow the action. We also lost a little bit of the action to the left. We could also see into the wings which was at times fascinating but otherwise a distraction. I did not pay full price so I should probably not look a gift horse in the mouth. We were seated very close to the stage which was nice.
Overall it seems I enjoyed the show a lot more than previous posters. My overall measuring stick is would I go an see this show a second time? I think I would, especially to hear some of the score, the lead performances, but mostly to soak in the incredible dancing on display. Just my two cents.
Posted: 3/21/22 at 10:20am
@A Director, the anecdote I posted (and that set you off apparently) was a recollection of what someone else had said years ago but was prompted by what Ermengarde had just posted in this thread (" People often ask why Broadway can feel insular and hard to break in. But being good at your job in one area of the theatre industry is COMPLETELY different than knowing the intricacies of Broadway. When you've got a big musical, you need craftspeople and agencies who know what they're doing and know how to get a show delivered on-time and close to budget."
It is a fact and of course you misread what I wrote. I am of course aware that Broadway designers work in the regions, but that is not my point. The salient point here is that it appears that a lot of the problems we are hearing about arise from Garth not being able to assemble a first class team because he was out of the loop and also because a lot of people would not work for him. It is also worth noting that when Garth first captured the attention of Broadway, he had the ultimate seasoned (and current) musical theatre professional at the helm who in turn brought in the cream of the crop to support his creative vision. (Fwiw, I love Moises, but it is also worth noting he has never directed a Broadway musical, and that the fingerprints all over this production are Garth's, not his.
Posted: 3/21/22 at 10:40am
I've seen almost all of my NYC shows this season on TDF, and they have been remarkable: mostly house seats or the equivalent (certainly at both Flying Over Sunset and Girl From the North Country, twice) Center orchestra, first 7-8 rows, for Wednesday matinees. But of course, this is a unique season. But I'm not surprised that some of the TDF seats for this show are partial view. The show is being heavily discounted, and papered, and they want fullish houses. I'm sure when I attend on 3/29 I'll get lesser seats than I had in the shows I saw earlier. TDF is always risky for those with fairly rigid seating requirements; yet at 1/3 of the box office price (or less), I generally accept the risk with a smile. I can afford to see almost everything through TDF, and I'm grateful.
I also know that the Fall of 2021 -- when shows played to 40% capacity many Wednesday afternoons -- spoiled the TDF crowd. We got used to perfect seats for $49-$57, and that won't last.
Posted: 3/21/22 at 10:43am
I got orchestra M 1-5 on Saturday afternoon through TDF.
Posted: 3/21/22 at 10:54am
That is a great story about your time working with David Belasco, Hogan.
I would disagree a bit, though –– each situation is different, but newer-to-Broadway designers can be completely fine as long as there's a really solid PM, GM, producer, and perhaps an Associate with more recent Bway credits. Without full knowledge of the Paradise problems, these all seem to stem from the producer and management (and perhaps also, as you say, Moises and his lack of control).
Updated On: 3/21/22 at 10:54 AM
Posted: 3/21/22 at 11:52am
ErmengardeStopSniveling said: "That is a great story about your time working with David Belasco, Hogan.
I would disagree a bit, though –– each situation is different, but newer-to-Broadway designers can be completely fine as long as there's a really solid PM, GM, producer, and perhaps an Associate with more recent Bway credits. Without full knowledge of the Paradise problems, these all seem to stem from the producer and management (and perhaps also, as you say, Moises and his lack of control)."
Very funny. I feel that old sometimes 
I agree about needing to focus on associating with experienced people for support. My anecdote obvs dealt with a specific situation and speaker. (Who was not speaking from the grave. )
Posted: 3/21/22 at 11:01pm
My sense of this show is that there does not seem to be one leading vision. For whatever reason the director is rarely mentioned and the producer dominates the conversation everywhere. That is a huge problem. Who cares who raised the money, unless that person is being given creative input and that would be dreadful. . As Jerry Mitchell once said, " I will listen to a producer's wallet but I don't care about any their creative ideas".
Posted: 3/22/22 at 1:08am
It’s Kaufman, right? I love his directing but doesn’t seem like he’s ever mentioned.
what’s the design and set like? I know it’s mostly scaffolding but how does it all work?
Posted: 3/22/22 at 8:20am
SouthernCakes said: "It’s Kaufman, right? I love his directing but doesn’t seem like he’s ever mentioned.
what’s the design and set like? I know it’s mostly scaffolding but how does it all work?"
It seems like it’s all automated..kind of reminded me of the Newsies set. When I saw the show everything worked except one time where a stagehand had to come partially onstage because a set piece broke off!! Oh gosh. Anyway yeah kind of like Newsies.
Posted: 3/22/22 at 8:45am
Big caveat: I have not seen the show in either Chicago, or Broadway; grain of salt implied.
Still, after reading through this thread, it seems as if this production is following a 'paint by number' formula to attempt to recreate the appeal of RAGTIME.
- (broadly) similar books based on historical fiction, with similar themes of wealth vs poverty (with the impoverished being ethnic minorities), inclusion of actual historical figures (or reference to them, i.e. Stephen Foster), blend of African/American and European immigrant characters
- same producer (Debrinsky/Livent)
- similarities in set concepts (mentions in this thread RE: turntables and scaffolding)
- similar use of female actresses (powerhouse singers: Audra McDonald/Joaquina Kulakango)
Major differences: better choreography in Paradise Square, better score in Ragtime.
Factor that (perhaps) favorably influences PS: First, and so far only, original book/score post-pandemic shut down.
Posted: 3/22/22 at 9:48am
Many of the aspects you mention, comparing it to Ragtime (wealth vs poverty, including historical characters) are what make Moulin Rouge such an appealing show for many. I know many hate it for its pop music score, but it is staged spectacularly.
In this day & age you can't just put on any dowdy looking show.
Even with a simple set, a show needs to start with a story & characters people care about. I haven't read that in any of the reviews yet.
Just occurred to me, Mr. D probably thinks Hamilton ripped off Ragtime.
Updated On: 3/22/22 at 09:48 AM
Posted: 3/22/22 at 10:10am
inception said: "Many of the aspects you mention, comparing it to Ragtime (wealth vs poverty, including historical characters) are what make Moulin Rouge such an appealing show for many. I know many hate it for its pop music score, but it is staged spectacularly."
Although many people (myself included) may actually hate Moulin Rouge! more for being all style, no substance, and the style is just way too chaotic and way too messy to get into.
Updated On: 3/22/22 at 10:10 AM
Posted: 3/22/22 at 10:47am
Saw my chiropractor last night, and he raved about the show, especially Kalukango, saying she got multiple standing ovations during the show.
Posted: 3/22/22 at 11:01am
everythingtaboo said: "Saw my chiropractor last night, and he raved about the show, especially Kalukango, saying she got multiple standing ovations during the show."
I find this fascinating. I've been attending Broadway and London theatre for more than 20 years and have never seen more than one standing ovation during a performance ... and that has happened very rarely.
Posted: 3/22/22 at 11:12am
Same. I've been doing to B'way shows since Zorba the summer of 1969, and never saw a standing O during a performance until Jagged Little Pill, That Big 2nd Act Number, at an early preview. From reports, repeated at every performance afterwards. Even an iconic mid-number ovation -- Holliday's "And I" -- didn't result in a standing O. So this is new.
Posted: 3/22/22 at 12:05pm
Standing O's have become more common, for whatever reason. I don't know the science behind it.
Also keep in mind that –– like Something Rotten with "It's A Musical" –– the producers may have "plants" in the audience to start standing ovations, if they feel it's something that helps boost WOM and audience engagement. If a few strategic people all stand after a number, it doesn't take much to make some other people behind them stand up.
Every show gets a standing O at curtain call now, primarily for the reason that the audience needs to stand up to leave the show.
Updated On: 3/22/22 at 12:05 PM
