PARADISE SQUARE Chicago Pre-Broadway Tryout - Previews & Reviews- Page 4

[RippedMan]

Posted: 11/10/21 at 2:11am

I can't help but think this is always the issue. There are giant things that need to addressed, but the show is up and running and therefore, those things will never be addressed. It's a dumb system. 

[JasonC3]

Posted: 11/10/21 at 6:40am

Aren't wholesale changes/rewrites/et al often addressed after the out-of-town (or first) production of the show opens and its next iteration is staged?

[BalconyClub]

Posted: 11/10/21 at 6:56am

At least Immigrant Owen acknowledges the timeline issue of the dance contest in recent performances. After the coin flip, when Nelly asks Owen to dance first, he gets ready, muttering “but I just danced.” 

This leads me to believe that the dance contest timeline is being worked out and will eventually appear in a performance.

 


 

 

[unclevictor]

Posted: 11/10/21 at 10:18am

BalconyClub said: "Several technical tweaks on Tuesday night, Nov 9.

1. Ahead of Frederic Tiggens entrance, a sound effect of galloping horses was added.

2. All last week, Milton Moore had been SEATED at the upright piano in his initial scene. Tonight, he entered stage right, and briefly stood in FRONT of the piano to sing his initial stanza before retiring to the piano bench.

3. A line said by one of the Irish men was dropped - something about not wanting (to fight in the war) as he had a wife and baby.

4. Last week, Act 1 had always ended with a blackout. Tonight, the final moment was visually frozen as the black scrim/map of Five Points dropped from the proscenium.

5. In Act 2, a few wordy visuals that had been beamed to the upstage wall were instead beamed onto the top of the proscenium.

6. Are there more splashes of red in the design that I’ve overlooked before? The red color appears in the opening scenes of Five Points on a messenger bag and fire department box. The red also appears much more during one of the slides used in the riots.

There were likely more tweaks. Subtle script changes are always difficult to pick out. But last week, duringthe Act 2 dance contest, one saloon denizen was overly excited with a “you go girrrl” during Washington’s dance entry. That brief line only appeared for one night.
"

I’m confused. Are u in the show? Work on the show? Or are u watching it every night because tickets are easy to get and taking notes? 

[jbp1232]

Posted: 11/10/21 at 12:01pm

I saw a preview last week and I agree with everything gingersnap2 said. This show has potential, but need significant revisions, not small tweaks. Right now the biggest problem is that the show simply hasn't decided what it's about. It wasn't until Act II when you really start to figure out who we care about and what the plot is going to be at all. That's not to say that things don't happen in Act I, but there's no forward momentum. For me this started with the opening, it felt like there were multiple opening numbers presented in rapid succession each introducing different characters, themes, and plot lines with absolutely no dialogue between them. 

I agree with everyone else that the dance off is a mess because it happens twice and just felt stale and boring in Act II, especially given the unnecessary reprises.

Then there's a song where Washington apparently told his whole backstory and I was legitimately paying attention but none of it came through. At the end of the song, everyone else shows that they understood why he did what he did, but honestly, I almost laughed out loud because I had no idea what was said. It felt more like a dream ballet than any kind of narrative. 

I was also confused by the choreo at times. AJ Shively did a fantastic job of Irish step dancing, but they other actors playing Irish characters just looked sloppy. I don't know if that was to make AJ stand out as the best Irish dancer in NY or what. 

Finally, did anyone else feel that Welcome Home felt too much like the song of the same name from Bandstand? 

Updated On: 11/10/21 at 12:01 PM

[ErmengardeStopSniveling]

Posted: 11/10/21 at 12:23pm

JasonC3 said: "Aren't wholesale changes/rewrites/et al often addressed after the out-of-town (or first) production of the show opens and its next iteration is staged?"

It takes time for changes to be implemented in a show.

If the team saw at the first preview (November 2) that one number or scene is completely bombing with the audience, that needs to be written, orchestrated, then it might need new costumes, new staging, it will need to be teched, and then finally it can be inserted into the show. And then maybe that new material triggers changes to other scenes in the show.

Or the creative team can make notes and say "we'll fix it between out of town and Broadway" since there will be a proper studio rehearsal period before Bway. It is still valuable for the team to see how it plays for a paying audience.

Financially, it's not really possible in the current system, but the ideal scenario for an out-of-town tryout would be taking a break of 5-7 days at one or two intervals starting a week into the process, which would allow real change to happen. Scott Rudin did that on Shuffle Along when it opened cold in NYC.

If you haven't read Everything Was Possible by Ted Chapin, about the original production of FOLLIES, it's probably the best book about the out-of-town process for a musical and how changes of any size can have an impact.

Updated On: 11/10/21 at 12:23 PM

[JasonC3]

Posted: 11/10/21 at 12:31pm

^ thanks for the thoughtful replay.

I wasn't really asking the question for an answer, but was instead replying to RippedMan's post (#75) preceding mine in which he suggested giant changes were required.

In hindsight, I should have quoted that post for clarity.

[ErmengardeStopSniveling]

Posted: 11/10/21 at 12:34pm

JasonC3, you're welcome, and hopefully it will shed some light on the out of town process for others too.

[Call_me_jorge]

Posted: 11/10/21 at 4:26pm

unclevictor said: "BalconyClub said: "Several technical tweaks on Tuesday night, Nov 9.

1. Ahead of Frederic Tiggens entrance, a sound effect of galloping horses was added.

2. All last week, Milton Moore had been SEATED at the upright piano in his initial scene. Tonight, he entered stage right, and briefly stood in FRONT of the piano to sing his initial stanza before retiring to the piano bench.

3. A line said by one of the Irish men was dropped - something about not wanting (to fight in the war) as he had a wife and baby.

4. Last week, Act 1 had always ended with a blackout. Tonight, the final moment was visually frozen as the black scrim/map of Five Points dropped from the proscenium.

5. In Act 2, a few wordy visuals that had been beamed to the upstage wall were instead beamed onto the top of the proscenium.

6. Are there more splashes of red in the design that I’ve overlooked before? The red color appears in the opening scenes of Five Points on a messenger bag and fire department box. The red also appears much more during one of the slides used in the riots.

There were likely more tweaks. Subtle script changes are always difficult to pick out. But last week, duringthe Act 2 dance contest, one saloon denizen was overly excited with a “you go girrrl” during Washington’s dance entry. That brief line only appeared for one night.
"

I’m confused. Are u in the show? Work on the show? Or are u watching it every night because tickets are easy to get and taking notes?"

Believe they are doing the latter. BalconyClub, also did the same thing for Tootsie when they tried out in Chicago! Thanks for the very much BalconyClub for your continued viewings!!

[BalconyClub]

Posted: 11/10/21 at 6:54pm

Hello Call Me Jorge - I probably went to 10 Cubs games this past summer and 12 White Sox games. It's OK to see entertainment more than once, especially if it is affordable.  So far, the lottery has been easy to win (3 of 4 attempts) and balcony tickets are very cost-friendly.

Later in the run, weeknight high balcony tickets are only $15 for subscribers to Broadway in Chicago.  I almost always sit high.

A few weekends ago, I headed to NY to take in Chicago, Caroline or Change, and Come From Away.  I'll return to NY in January to see Music Man, Company, Doubtfire, and Flying Over Sunset. Then in April, two nights of Funny Girl, one evening in Paradise Square, and another 2 or 3 slots to be filled.

Once these 5 out-of-town tryout weeks pass, I'll return to my usual routine of seeing 2 different shows each week at a wide variety of Chicago venues. 

But for now, I love immersing myself into the creation of a new show.   

[coopsbiz]

Posted: 11/10/21 at 8:57pm

This producer seems do to with his shows. Ragtime was tweaked to death and Fosse was all sparkles without any real substance. He will futz with it, focus group it and then end up with a homogenized latte      

[BalconyClub]

Posted: 11/11/21 at 12:00am

Wednesday Tweak Report:

1. The opening black and white projections that introduce the Five Points neighborhood have expanded from four scenes to 7.

2. Late in Act 1, when it is determined to hold a fesh (dance contest), Nelly announces that the fesh will take place in 4 weeks.

3. In Act 2, in the scene in which the Provost Marshal draws the names of who will be drafted, the scene ends with Owen climbing the tower. A projection of draft cards confetti-ing the streets appears.

A technical glitch did not stop the beginning of HARD TIMES. A third of the scene’s large white fabric that spills into the scene from above got tangled in the upper railing of the saloon. The unseen stage crew quietly fixed the fabric in two steps. Maybe 15 seconds passed before all the fabric landed to the stage floor. Milton Moore never stopped singing. 

In the pit, Associate Conductor Anna Ebbesen had baton duties.

[broadwayjpg]

Posted: 11/11/21 at 1:12am

Saw Performance tonight - 11/10 - 7th row - center of Orchestra

Overall: Rough show with unmoving music and a murky plot. SKIP IT.

Thoughts: The story has no focus so the show meanders, and never spends time investing in the characters. Instead of getting to know the characters they are paraded around through plot points. Has a few nice melodies but the lyrics are horrendous. You can often guess the lyrics before they sing them they are so predictable. The cast is wonderful and really put in great performances, the material is just - not worth your time.

I doubt this makes it to Broadway unless its completely reworked. Even Let it Burn - the 11 o'clock number - and the best in the show - repeats the same phrase for the last 90 seconds of the song. Lazy song writing. Great set / costumes / dancing - just need a story and new lyrics!

[BalconyClub]

Posted: 11/12/21 at 1:47am

Only about 800 of 2253 seats were occupied Thursday night. Early arrivals with balcony tickets continue to be invited to the main floor ahead of showtime. It’s been a sweet deal.

Though 7 projections of Five Points started Wednesday’s performance, that may have been for one night only. The original four projections returned tonight.

Other changes were gentle. When Nelly first met Tiggens outside the saloon, she now arrives wearing black gloves and clutching a small black purse.

Later, when she announces the fesh, Nelly proudly says the contest is open to both men and women.

Ahead of the Nelly and Annie Lewis duet SOMEONE TO LOVE, the usual two chairs were in place on either side of the table. The previous night, Annie gallantly retrieved a missing chair moments before the song began.

The very good Irish dancer Jason Oremus appeared in the ensemble of ONE MATCH AND ONE MAN, replacing another ensemble member.
 

Updated On: 11/13/21 at 01:47 AM

[coopsbiz]

Posted: 11/12/21 at 6:30am

The updates from BalconyClub are invaluable to show the production's progress and while fully appreciating the tryout period of a show to work out issues with a production of this scale, the two key obstacles will be mixed reviews that will further add to audience indifference and the inevitable frustration from the creative team derived  from the producer meddling which has been his approach on every show. Even poor Frank Galati was sidelined on Ragtime. I wish the cast strength and success.                

[BalconyClub]

Posted: 11/13/21 at 12:33am

Friday: Lucky Mike Quinlan appeared in the opening saloon scene with SIDEBURNS. This greatly helps track his character for the full performance.

Quinlan has also wider movement in ONE MATCH AND ONE MAN. Instead of his protest dance duet with Owen, Quinlan dances a full arc upstage, interacting with the Ensemble while Owen sings downstage.

The worst scene change has been fixed. Previously, the arduous change after HARD TIMES was too long with its removal of a white fabric screen followed by the set up of tables and chairs while a cacophony of noise roared from the pit.

Tonight, once the white fabric screen fell to the stage, the upper rail of the saloon immediately lit up with Nelly and Annie surveying the eerie quiet. Below, tables and chairs are still set up, but the focus is now on the two women upstairs.

Subtle music changes are hard to spot, but the lovely underscore played when Washington and Angelina enter the saloon after their escape from the outdoor rioting is now an eerie passage. The tense music is better for the scene.

A punch of brass was added to the first climax of LET IT BURN.

Swing Colin Barkell played one of the Irish Dancers. His name appeared on the cast board in the lobby and a pre-show announcement was also made.

Updated On: 11/13/21 at 12:33 AM

[dickg2]

Posted: 11/13/21 at 5:17am

This is a difficult show.  I really want it to be successful but it needs some work.

First, the producer's history isn't terribly relevant to the audience.  He discharged his sentence and so be it.  If there are issues with misbehavior or maltreatment associated with this show, go for it but otherwise it's history.

Second, this is no Hamilton.  Not even close.  But that's not a fatal flaw, either.  What it means is that there are some shows that are compelling and some that are classics and these merit repeat attendance.  Some are almost timeless.  Think of shows like "The Prom" or "Mean Girls."  Good, okay, but not "I'm going to go out of my way to see again and again."

Particularly in the first act it was difficult to follow the story line and how it tied together.  "It needs something," we kept saying.  The dialogue was hard to follow and the sound system is pretty good. (Imagine it playing at the PAC in Milwaukee where the audio sucks.)  Maybe there are too many things going on.  The Stephen Foster connection is interesting but either it needs to be expanded or cut.  

Glitches aside, there is a lot to like here.  The story of an interracial community in 1863 is pretty cool -- as is the event that tore it apart.  Providing safe haven to a runaway slave also cool.  The ward boss is an underdeveloped situation.  He's upset because he sees the tavern as a political threat but you never see any evidence of that conflict.  He suggests that Nelly's place has political power and yet she is helpless politically.  That makes no sense.  We needed some good vs. evil conflict here.  There is a real need to grab the audience earlier and hold the attention throughout the show.

There is a little kinship to Camelot here.  In the midst of poverty there is kind of an idealistic society being attempted until some bastard shows up to screw it up.  

The leads are fantastic.  The audience Wednesday night got it right, saving the standing ovation for Joaquina Kalukango (Nelly) and then it was unanimous.  Chillina Kennedy's character needs just a bit more "oomph" (not her fault).  

I realize I am going all over the boards here but that's because that's just what the show did.  It needs more glue and a better flow.  It is not Hamilton but it is worthwhile and it could (and should) be better -- especially if it wants to have some life on Broadway and on a tour.  

Finally -- and again Camelot comes to mind -- after the Richter-scale power of "Let It Burn" at the end the show closes without hope unlike Sir Tom at the end of Camelot.  

 

[VintageSnarker]

Posted: 11/13/21 at 10:11am

dickg2 said: "Second, this is no Hamilton. Not even close. But that's not a fatal flaw, either. What it means is that there are some shows that are compelling and some that are classics and these merit repeat attendance. Some are almost timeless. Think of shows like "The Prom" or "Mean Girls." Good, okay, but not "I'm going to go out of my way to see again and again."

I'm confused. Are you saying The Prom and Mean Girls are timeless? But Paradise Square isn't? 

 

[dickg2]

Posted: 11/13/21 at 10:57am

I think shows like South Pacific, Hamilton, My Fair Lady, West Side Story, etc., are timeless classics.

Shows like The Prom and Mean Girls are nice, OK, but not necessarily timeless classics that people see again and again and again.  I would rate Paradise Square as a pleasant show but one that is unlikely to become a timeless piece or one that people endeavor to see multiple times.

Updated On: 11/14/21 at 10:57 AM

[BalconyClub]

Posted: 11/14/21 at 11:47pm

Sunday evening’s performance was solid with just small tweaks. Angelina no longer carries a knife in her attire, Quinlan did not blow out his candle, and the smoke was just the right thickness during LET IT BURN.

The underscore has been updated again when Angelina and Washington enter the saloon to escape the riots. It’s the skeletal notes of HARD TIMES. The new vamp continues when Owen and the Reverend return.

Swing Colin Barkell remains in the lineup, temporarily replacing the injured Jason Oremus.

[unclevictor]

Posted: 11/15/21 at 11:34am

BalconyClub said: "Sunday evening’s performance was solid with just small tweaks. Angelina no longer carries a knife in her attire, Quinlan did not blow out his candle, and the smoke was just the right thickness during LET IT BURN.

The underscore has been updated again when Angelina and Washington enter the saloon to escape the riots. It’s the skeletal notes of HARD TIMES. The new vamp continues when Owen and the Reverend return.

Swing Colin Barkell remains in the lineup, temporarily replacing the injured Jason Oremus."

Eye roll

[Call_me_jorge]

Posted: 11/15/21 at 1:25pm

Not sure why you seem to dread every time BalconyClub posts an update, Unclevictor. 
 

I appreciate the posts Balcony! Keep them coming. I’m hoping to check out the show after they open on Wednesday and are, hopefully, frozen.

[ErmengardeStopSniveling]

Posted: 11/15/21 at 3:52pm

BalconyClub's posts are wonderful (for this and previous Chicago tryouts) and a fascinating artifact for anyone interested in the process of tweaking a show throughout previews.

[BalconyClub]

Posted: 11/17/21 at 12:07am

On Tuesday night, November 16, the order of final bows was changed - after sixteen performances.

Let’s back up a bit. In Act 1, in I’M COMING, three characters are introduced: Owen, Washington Henry, and Angelina. But as their stories unfold, Angelina’s tale has significantly less stage time than the other two.

Tonight in Act 1, when Owen and Washington Henry danced and sang in CAMPTOWN RACES, the choreography that demonstrates their budding, yet competitive relationship was much stronger as the number reached its conclusion. And both roles have always been part of the lengthy Act 2 dance contest.

Angelina still leads my favorite number - BREATHE EASY in Act 2.

Previously, the reverse order of bows was:

1. Nelly

2, Annie and the Reverend

3. Owen, Angelina, Washington Henry

4. Mike Quinlan and Frederic Tiggens

5. Willie and Milton

6. Irish Dancers and Nova

But tonight’s order was:

1. Nelly

2. Annie and the Reverend

3. Owen and Washington Henry

4. Mike Quinlan and Frederic Tiggens

5. Willie, Angelina, and Milton

6. Irish Dancers and Nova

 

 

Updated On: 11/17/21 at 12:07 AM

[coopsbiz]

Posted: 11/17/21 at 8:37am

Well, opening night is here. At 30% houses, monstrous papering, and hundreds of changes (reported in detail by balcony club), will this show make it to Broadway past a papered opening night packed with investors and family that will warm themselves against a Chicago hard chill with standing ovations and free champagne? 

Even in the chance that reviews are strong and the show has potential, the road to Broadway will be a hard one. The producers will come out of Chicago with losses followed by the unenviable task of creating a demand in New York. A wise person once said;  "when they are not  buying tickets, there is no stopping them"  .  Cheers to  Paradise!