Paradise Square - COVID — Page 3

Lumiere2 said: "Was anyone at tonight's (Tues 19th) performance now that they've come back from their two week COVID shutdown? How many people were there?"

A few days before the Tuesday night performance, I switched my $49 mezzanine seat for a $39 main floor seat. Mezz G1 to Orchestra O23. Though the mezz seat would have given a fuller picture, I wanted to be closer to the stage to be part of the returning audience’s energy. Sadly, the electricity was not evident until the last moments of the show.

Josh Davis did a fine job as Frederic Tiggens.

Nova was played by Camille Eanga-Selengre. Uptown Man/Way Station Attendant/Notification Officer was played by Eric Craig. Uptown Woman was played by Kristen Beth Williams.

The production made many, many changes since the Chicago run. I know I can’t remember them all.

In Chicago, I’M COMING was performed only by Owen, Washington, and Angelina. I like how this number is fleshed out to include more ensemble movement. Plus, the connection between Washington and Angelina is clearer.

YOU HAVE HAD MY HEART has a better ending with Willie quietly exiting the stage.

Heck, I even like the brief drink hoisted by Lucky Mike during a transition moment.

Colin Barkell’s Irish Dancer character now sports a slick beard.

Though OH, SUSANNA was dropped from the score, one can still hear some of its structure in the orchestrations. Same with the act one closer - HEAVEN SAVE OUR HOME. Some of its musical stanzas were carried over from the former WELCOME HOME.

In tryouts, it was hard to hear slave Washington’s lyric about “the lash”. This lyric was changed to an easy-to-hear “.... me.”

I am shocked, shocked that the dance contest timeline was not fixed. Owen dances AFTER already winning the competition. In Chicago, Owen would mutter under his breath “but I just danced.” The same line is now a commanding “BUT I JUST DANCED!”

In Act 2, NOW OR NEVER replaced RING, RING THE BANJO.

The blocking of Nelly and Annie’s tender duet SOMEONE TO LOVE is updated. In Chicago, both sat at the saloon table for the entire number. Much dialogue has been added to this scene, too, leading into the song.

Overall, a visit to PARADISE SQUARE was good for the soul. The story is sometimes confusing with its many characters, but the dancing, music, and performances shine.

Went to the Wednesday evening show - house felt half empty, no one to the left or right of us in front row Mezz, hardly anyone in the Mezz at all. Recently went to Plaza Suite, Birthday Candles, and Tina all during the week and this was definitely the most empty. May just be a result of the show being closed for a period of time and now reopening.

Agree with others who noted the show is a bit all over the place - I think this would have benefited from boiling down the plot/direction and focusing on a few characters/situations instead of tackling so many. Also noticed a lack of recurring song themes/motifs - it was there a bit but again I think the show would have benefited from tightening up the story and message.

Joaquina Kalukango was (as many have noted) a huge highlight. The whole cast was giving their all to a half empty house. Let It Burn got the loudest applause as anticipated. The dancing was phenomenal. I am sad this show didn't go through enough rewrites to make it a standout.

A minor note but me and my guest were unsure whether we were watching colorblind or non-colorblind casting until it was made clear that the roles were specifically cast. For a period piece it may have been helpful to make it clear early on but as noted its a minor point.