Piazza Takes the Tonys, but Will It Last? — Page 4

I always love it when people come here acting like an idiot then cowar in a corner.

The music in Piazza is beautiful and soaring and is not Mame. And that's something we have to be thankful for. It is pretentious to people who are shallow and unable to open their minds to new directions.

May there be more Piazzaz, First Lady Suites, Floyd Collins, Albertines and others ahead. There will always be Annie for the rest.

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"The story isn't as important as emotion."

I was just gonna post on this.

NO NO NO NO NO NO NO! Not one teacher of drama and not one performer (at least one that is any good) would ever make this statement. It is drummed into your head that, as a practicioner of theatre, the story is more important than anything else. Devoting time to emotion rather than to the act of telling the story is terrible, terrible, self-wallowing crap and not theatre at all. OK...it's theatre...but it's BAAAAAAAAAAAAAAAAAAAAAD theatre.

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MusicMan - couldn't agree more.

Piazza is just plain emotion....with beautiful sets, costumes and lights - and a score that would work better as a film underscore.

I just wanted to make a quick stament on comparing Guettel's work to Sondheims. I find them very similar and I belive the Guettel writes like her does, because of a possible close relationship with Sondheim. Now this is an assumption because I am not sure if they are close, but how can they not be? Hammerstein was Sondheim's mentor while Rodgers was Guettel's Grandfather. Arthur Laurents is Guettel's Godfather. So bettwen Guettel and Sondheim there are only a few degrees of seperation between the two in several directions. It wouldn't suprise me if Sondheim was somewhat of a mentor to Guettel. But then again, I'm just speculating.

On the subject of the Light in the Piazza. I don't find it pretentious at all, but then again I'm one who thought that Caroline or Change should've won Best Lyrics/Score last year. I find that shows like Caroline or Change and The Light in the Piazza are the saviors of modern musical theatre. Because even if the normal everyday man of the street doesn't understand why a washing machine talk or how two strangers one from Italy and one from North Carolina can fall in love, he will understand the emotion and it will effect him on a deeper level, and he will want to see more shows that give this to him.

But what can I say? I'm an optimist, and quite a fan of Eugene Ioenesco.

MusicMan: the audience isn't only the people who voted on the shows but also "stars" and the regular people who bought tickets.

And I agree with what Margo said, about how Piazza finally appeals to an older audience who would have trouble connecting to all the pop musicals that are on Broadway...great point.

I understand why some people would not like the show, but there are obviously a lot of people who connect to that score, or the show wouldn't have the clout and following that it does.

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"I find that shows like Caroline or Change and The Light in the Piazza are the saviors of modern musical theatre. Because even if the normal everyday man of the street doesn't understand why a washing machine talk or how two strangers one from Italy and one from North Carolina can fall in love, he will understand the emotion and it will effect him on a deeper level, and he will want to see more shows that give this to him."

The "normal everyday man" can appreciate anything if he is made to CARE. Advances never happen in a populist medium like the musical theatre unless its creators can communicate with its audiences and engage them. It's a business. If you can't, won't, or don't communicate, you're not in business. The only people who worry about saving the musical theatre are critics who have a deadline and posters on theater web boards. Certainly audiences don't. Experimental theater is fine but it will always be targeted for a fragmented minority or fringe element. Today's innovation (a new genus of species) is too often tomorrow's aberration (a three-headed cow), useless to everybody.

Updated On: 6/6/05 at 06:18 PM

"And I agree with what Margo said, about how Piazza finally appeals to an older audience who would have trouble connecting to all the pop musicals that are on Broadway."

An older audience? Who do you think goes to the theater, pop musicals or not? It's an older demographic that is ingrained in a theater-going habit, not the RENTheads.

Guettel and Sondheim are closer than just the association of Adam's grandfather and Steve's mentor. Mary Rodgers (Adam's mother) is extremely close friends with Sondheim -- said on occasion that if he hadn't been gay she would have liked to have married him. Sondheim has known Adam since he was born and has certainly had discussions with him about his work on numerous occasions. Sondheim listed Guettel's "Riddle Song" among the 25 songs he wished he'd written when honored by the Kennedy Center a few years ago and Adam also received the prestigious Sondheim Award for upcoming talent and works in progress. Finally, Adam refers to Sondheim shows as "Steve's music." I get the feeling the two could spend an afternoon together without the slightest feeling of awkwardness.

Chitown says "For the sake of the theatre, I hope it closes."

Wow...and you expect people to take you serious?

Thank you for being the arbiter of theater and knowing what we all want.

Oh wait..no one asked me.

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I don't think it will last. Nobody has heard of this musical from the mainstream audience. Yes, those of us who closely follow what's on Broadway will see it, but the tourists and those who just like to take the family to see a Broadway show will most likely skip Piazza for Spamalot or Hairspray.

I watched the Tony Awards with a bunch of people who go see their fair share Broadway shows but don't follow the shows religiously and none of them had even heard of Piazza before watching the Tony's. I don't know, I don't get the vibe that people even know that Piazza exists. Maybe that's just my friends, though.

Ok you need to define last. I've already pointed out Floyd Collins and Myths and Hymns. It's been over 10 years since the inception of Floyd. People are doing it aruond the world. It's still around and people appreciate Guettel. Piazza will last. It won't be forgotten believe me. His other work hasn't been. Keep in mind also that is Lincoln Center. The point of the show is to do new creative edgy things, without the risk of financial ruin. This is nothing new. I don't know what's with all the talk about "Ohh my Piazza is soo busy(which musically is not all that busy as it is harmonically dense). Ohhh Piazza is elistist." I say to that so what. Then it has found it's audience. The theatrical elite. Lion King does not appeal to everyone. More people? Yeah, but still not all. I have no desire to see Lion King. I'd rather see Piazza and See What I Wanna See and My Life With Albertine. That's MY kind of theatre. There's gotta be something for everyone and this type of musical does it for MANY people. Pop musicals won't die and theatre will be fine.

With the extension, it looks like the answer is YES!

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