Rocky Previews- Page 15

[teresa2]

Posted: 2/18/14 at 2:33am

I was at Rocky tonight also and I agree with Wickedrocks review of the show. It didn't bowl me over, but then I wasnt expecting it to. I had a hard time imagining it as a musical from the first time I heard about it. It was better than I expected and I love the two leads, especially Andy Karl. Have been a fan of his for 9 years (since Altar Boys). He played Rocky beautifully. It was a combination of Sylvester Stallone from Rocky, Luke from Altar Boys, Tommy from Jersey Boys and even Vinnie Barbarino from Welcome Back Kotter. I could pick up certain lines and mannerisms from each of them. It was most definitely a stand out performance for him.
Also really liked Margo Seifert in her Broadway debut and thought she and Andy had wonderful chemistry.
I did enjoy the fight sequence just for the excitement of it and of course it was obviously so reminiscent of the movie. The songs that resonated the most with me were Eye if the Tiger and Gonna Fly Now as they are the ones I am familiar with. The others weren't really memorable, tho I did enjoy Andys two solo numbers.
The one part of the show i think they could cut are the scenes in the pet store. I don't think they really serve any purpose.
I will definitely see it again later in previews and after it opens. Want to sit in the Golden Circle at least once. Also front mezzanine.

[StageStruckLad]

Posted: 2/18/14 at 9:50am

Excellent review, WickedRocks. I also attended last night and mostly enjoyed it but wasn't blown away. The score is weak, no question. And they did no favor to Ahrens and Flaherty by adding "Eye of the Tiger" to the training sequence, even though the audience clearly loved it. In fact, one lady behind me started singing along during that song, loudly and off-key. The audience also went wild for two of the iconic moments from the film, whooping it up loudly and applauding when Rocky drinks raw eggs and later runs up the steps of the art museum. My husband, who has never seen the movie, asked me later why the audience reacted so strongly to those two moments, which makes me think that the musical didn't set them up well but was instead content just to rely on the memories of people who saw the movie. I agree that the sound mix is muddy during ensemble numbers (we were 10th row orchestra), the delay caused by audience members filing up onstage was annoying, and the two leads are outstanding.

[jaxandmci]

Posted: 2/18/14 at 10:39am

I saw the third preview (Saturday Eve) and was totally unimpressed. Spectacle over substance pretty much sums up my opinion of it. It was big and loud and well, just painfully empty. At least Spider-Man gave us Rise Above. Other than the quintessential Rocky Theme and Eye Of The Tiger--both lifted from the movie--the score is instantly forgettable and at times, cringeworthy (Mick's number). For me, a really strong score might have saved Rocky The Musical.

The two stoppages due to set malfunctions added approximately 25 minutes to the run time and I'm not sure why they even bothered taking the time to get the iconic steps to function properly for their second extremely brief appearance. Most all of the sets, as Blaxx pointed out, come and go so quickly it does give you the feeling that you're watching a movie with rapidfire editing. I found the constant set changes and moving in and out of columns and beams and television monitors and everything else almost disorienting. Again, spectacle over substance. Keep the audience's heads spinning and they won't notice all the show's deficiencies.

I sat second row orchestra right on the inside aisle. I felt sorry for the Golden Circle ticket holders. It took ten minutes or so to gather all their things and get led up to the stage like cattle--where many of them seemed to have a worse view of the fight than if the ring had been on the stage and they had stayed in their comfortable seats. Between the commotion of them being corralled stageward and the stagehands prepping the front orchestra for the emergence of the boxing ring, what little momentum the show had mustered died a slow death. By the time the big match got underway, I was just ready for it all to be over. Strangely, no one on my side of the ring stood for a better view and no one cheered. Perhaps they were all as underwhelmed as I was.

I thought Karl and Siebert both did fine jobs and must say that Karl has the most grueling job on Broadway right now. I feel sorry for him having to do this eight times a week--not to mention all the rehearsal time. I hope he's getting paid handsomely for it.



Updated On: 2/18/14 at 10:39 AM

[lynnetoomey]

Posted: 2/18/14 at 10:43am

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[steveshack]

Posted: 2/18/14 at 11:00am

Saw it last night. The tech problems are straightened out. The show moves very fluidly. The two leads connect emotionally and make us care about them very much. And that's really what made the show work, for me. The score served the material and the songs rose smoothly out of the underscoring, but was also dull and kind of monotonous. Happily, though, none of the songs last that long so you don't have much chance to get bored by them. I was surprised at how utterly mundane the music was.

Until you get to "Eye of the Tiger," of course, which made the rest of the music seem that much more dull and lifeless.

The final fight was pretty great. Never saw anything quite like it in a theater. Very well choreographed. I was not bothered by the audience filing onto the stage. It didn't really seem that long a wait, plus they had the sports announcers filling in the time.

All of the actors were great. Very connected to the material, emotionally, and it was a delight watching them perform. I really felt for them. They deserve a lot of kudos. Also, the book itself is sharp and witty, and carried us through the plot with a lot of laughs.

Overall, I would call it an excellent entertainment for the all the reasons above. But, god, how I wished the songs were better.

[Liza's Headband]

Posted: 2/18/14 at 11:15am

jax, without divulging too much I can tell you that the Producers know he is their "golden boy." No idea about his salary but they are basically treating him as a celebrity with accommodations (car service around the city, a handsome per diem and living expense account, etc.)

[Mr Roxy]

Posted: 2/18/14 at 11:33am

I remember a show years ago in the old Morosco that starred Danny Aiello called Knockout. It had an actual ring on the stage at the end. I remember people reacting as a real fight audience would with yelling and rooting for Aiello.

Question: If you had a TDF ticket for the night of the last snowstorm how long do you have to try and backdate it. I am not buying another set of tickets so I am trying to see if I will ever be able to exchange the pair. To bad their is no protection for theatergoers in the event of something like this.

Updated On: 2/18/14 at 11:33 AM

[teresa2]

Posted: 2/18/14 at 12:24pm

I have past dated tickets to shows that were from tdf. It doesn't matter that you purchased them that way. It works the same way, you call telecharge the morning you want to attend and they check with the box office. It is normally only a Tues, Wed or Thurs that they will accomadate tickets for past dating. It is allowed as long as the show is open. Unless things have changed, that is how it has always been.

Regarding Andy Karl and his compensation for Rocky, he has had a car service before in his shows, most recently Jersey Boys. I don't know about a per diem and living expenses, but he does live in NYC and always has so i don't know why he would get a living expense account on top of a salary, but i defer to Liza's headband regarding all that as i have no idea.

[theaterfan862]

Posted: 2/18/14 at 12:43pm

I'm thinking about seeing Rocky tonight and I was wondering if any of you who have tried the lottery know around how many people have been entering lately? Thanks.

[Buscee]

Posted: 2/18/14 at 12:49pm

I am not surprised he has a car service for Rocky, but as for Jersey Boys and Drood I know I always saw him walking to and from work.

[bwayphreak234]

Posted: 2/18/14 at 1:05pm

So what are the major sets/locations for the show, and how do they handle the transitions? Especially with the ring and staircase of the art museum? I am still confused on how the ring works and where it is stored and how it comes out?

[Liza's Headband]

Posted: 2/18/14 at 1:23pm

"Regarding Andy Karl and his compensation for Rocky, he has had a car service before in his shows, most recently Jersey Boys. I don't know about a per diem and living expenses, but he does live in NYC and always has so i don't know why he would get a living expense account on top of a salary, but i defer to Liza's headband regarding all that as i have no idea"

He did not have private car service at his disposal for JERSEY BOYS. But he does for ROCKY and has since the workshops nearly two years ago. Regarding per diem and expense account (on top of their salary), which is rarely granted by producers and only to the most coveted stars: you have to connect the dots and assume that the Producers realize just how hard he is working, and how much of an impact his breakthrough performance is having on this show. They are providing these coveted benefits as an incentive to keep him with the show in the event he is offered something else during his run. Again, I'm just assuming the Producers' motivation and intentions.. But a colleague of mine works in the production's General Management offices and told me about this when we went to ROCKY. I have no reason to doubt this claim.

[CarlosAlberto]

Posted: 2/18/14 at 1:44pm

JMO, but the public should only be concerned about the actor's performance not what incentives or perks that actor is or is not receiving. I don't get this need to know it all, especially when it has absolutely nothing to do with how good the show is or isn't.

Back in the day theater goers weren't concerned with theatrical or even motion picture box office numbers, grosses, weekly nuts, etc. Now it seems even the average Joe Schmoe on the street has to know this information...for what I have no idea.

[Mr Roxy]

Posted: 2/18/14 at 1:47pm

Thanks Teresa for the info on TDF backdating.

[best12bars]

Posted: 2/18/14 at 1:55pm

A quick question for those who have seen it ... and maybe it's been mentioned in this thread, but I didn't find it ...

In my opinion, Ahrens and Flaherty seem to thrive the most as a songwriting team when they latch onto a musical genre, like island music or ragtime music. They can sort of write "in character" within the style.

Does their music for "Rocky" have a specific style or genre? Did they give it a mid-'70s feel? Is the show even set in the mid-1970s? It sounds like the two songs that really stand out and grab people are Gonna Fly Now (with a VERY '70s sound) and Eye of the Tiger (with a big early '80s sound).

I'm wondering how the rest of the score fits into a period in time or a place ... or doesn't? Could that be a reason for the lack of any real "punch" (pun intended) in their music?

Either a fear or a desire not to commit to any era (aka, "dated" score)?

Personally, I would love it if it had a total 1970s-sounding score.

Updated On: 2/18/14 at 01:55 PM

[Liza's Headband]

Posted: 2/18/14 at 1:56pm

Carlos, I think if it's freely offered to someone there should be no problem with knowing. For those of us on the business side of entertainment it's what we typically find most appealing or interesting. The only difference in 2014 is the ease of access to this information, but not much else. I was also responding to a specific comment by jaxandmci. Not just throwing it out there for the hell of it.

[dreaming]

Posted: 2/18/14 at 1:58pm

besty-The score is generic ballads-typical Ahrens & Flaherty stuff.

[blaxx]

Posted: 2/18/14 at 2:00pm

Either a fear or a desire not to commit to any era (aka, "dated" score)?

Personally, I would love it if it had a total 1970s-sounding score.

Any kind of sound would have been good, any.

I know my opinions are the most extremist but if the score sounds like anything, it would be contemporary musical theater and not period music.

[best12bars]

Posted: 2/18/14 at 2:08pm

Is the time period for the musical supposed to be "today?"

It seems like such a missed opportunity to create specific music that evokes a special period and place in time. I actually think when writers avoid that, they end up dating the material quicker than if they embraced it. If it already has a period in time, it will never be anything but that ... 20, 30 years from now, it's still that period instead of some generic outdated trend in pop theatre music. I also think the music acts as an additional character in the story that way. (Think of Grease or Hairspray or The Music Man or Drowsy Chaperone.)

[blaxx]

Posted: 2/18/14 at 2:11pm

It is set in Philadelphia, 1975, according to the program.

No 70's sounding score, sadly.

[dreaming]

Posted: 2/18/14 at 2:12pm

I totally agree, Besty. I wish they'd taken a chance and done that. But, given the composer and lyricist, it doesn't surprise me much that the mishmash of pop ballads is what we're left with.

[best12bars]

Posted: 2/18/14 at 2:12pm

That's a shame.

Really a missed opportunity.

EDIT: They could have evoked everything from Conti's "Rocky" score to A Chorus Line (by the way, I have always felt that the final parts of Cassie's dance arrangement in Music and the Mirror sound like Gonna Fly Now, no joke!) to early Chicago (the band) to Earth Wind and Fire ... a good Wa-Wa pedal guitar ala "Shaft," etc.

Embrace the era and give it character and flavor.

Updated On: 2/18/14 at 02:12 PM

[Mattbrain]

Posted: 2/18/14 at 2:17pm

"besty-The score is generic ballads-typical Ahrens & Flaherty stuff."

That is not only a sweeping over-generalization but it is 100% wrong. Ahrens and Flaherty are capable of writing sweeping haunting music that on more than one occasion has brought me close to tears! Hell, when I was ten years old and listening to the Seussical cast album for the first time, I nearly bawled listening to Alone In The Universe and Solla Sollew. Even at their most intimate with shows like A Man of No Importance or Dessa Rose, I find myself being swept away by the sheer breadth of

I admit, I even enjoy this score even though it's not their best work. But to me, if this score has proven anything (again, kinda goin' against the popular consensus here), it's that the weakest of Ahrens and Flaherty is far better than the best of Frank Wildhorn.

*Disengage rant mode*

[WiCkEDrOcKS]

Posted: 2/18/14 at 2:18pm

There are moments, like Apollo's act one solo, that have a very 60s/70s sound, but they're few and far between. Mostly, it's just pretty generic-sounding.

[Sutton Ross]

Posted: 2/18/14 at 2:23pm

What was the average age of people in the audience?