SIX on Broadway - Reviews- Page 2

[YvanEhtNioj]

Posted: 10/3/21 at 9:33pm

forfivemoreminutes said: "YvanEhtNioj said: "TimeOut New York is positive - 4/5 stars"

But hard disagree on TimeOut New York saying that "All You Wanna Do" is the least well-crafted song...I think that song is the MOST well-crafted song and the one that does the most to actually transform the story of the six wives into something new and progressive."

Yeah I gave that the side-eye.  I think the least well-written song is “No Way”  

 

[forfivemoreminutes]

Posted: 10/3/21 at 9:36pm

YvanEhtNioj said: "forfivemoreminutes said: "YvanEhtNioj said: "TimeOut New York is positive - 4/5 stars"

But hard disagree on TimeOut New York saying that "All You Wanna Do" is the least well-crafted song...I think that song is the MOST well-crafted song and the one that does the most to actually transform the story of the six wives into something new and progressive."

Yeah I gave that the side-eye.I think the least well-written song is “No Way”

"

Yes...and probably the least progressive/transformative song is "Don't Lose Ur Head." That one, while in my opinion a fun song, is relying on the same old tropes about Anne Boleyn. But "All You Wanna Do" actually does something new and fresh and transformative...I feel like the reviewer just didn't "get it," maybe. 

[ErmengardeStopSniveling]

Posted: 10/3/21 at 9:39pm

SFFrontRow said: "YvanEhtNioj said: "Almost every Broadway celebrity you can think of is in line to get into the show right now, which is nice to see."

From what I have read about the pricing on this show - you would have to be rich and/or famous to be able to see this show."

Nobody pays for opening night tickets. The performance is invite-only. All the key people involved with the show have allocations of tickets (ranging from one ticket to dozens of tickets); there is always a sizeable group of people invited for press purposes by the press office and the producer. Most of those comp tickets include passes to the Opening Night party too.

The only exception is if a production puts tickets on sale to the general public. Usually those are 100 or fewer bad mezz/balcony seats put on sale at the last minute to fill up the house.

As for the necessity to be rich to attend a normal performance of SIX, ticket prices start at $100 currently, and even less after the new year.

Updated On: 10/3/21 at 09:39 PM

[EDSOSLO858]

Posted: 10/3/21 at 9:43pm

https://www.hollywoodreporter.com/lifestyle/arts/six-broadway-review-1235024613/

[YvanEhtNioj]

Posted: 10/3/21 at 9:46pm

“ It’s Britain’s Got Talent-meets-RuPaul’s Drag Race.”

LOVE THAT.

[Jordan Catalano]

Posted: 10/3/21 at 9:49pm

I feel that’s a quote that could either sell a million tickets or sink a show. Lol

[forfivemoreminutes]

Posted: 10/3/21 at 9:50pm

ErmengardeStopSniveling said: "SFFrontRow said: "YvanEhtNioj said: "Almost every Broadway celebrity you can think of is in line to get into the show right now, which is nice to see."

From what I have read about the pricing on this show - you would have to be rich and/or famous to be able to see this show."

Nobody pays for opening night tickets. The performance is invite-only. All the key people involved with the show have allocations of tickets (ranging from one ticket to dozens of tickets); there is always a sizeable group of people invited for press purposes by the press office and the producer. Most of those comp tickets include passes to the Opening Night party too.

The only exception is if a production puts tickets on sale to the general public. Usually those are 100 or fewer bad mezz/balcony seats put on sale at the last minute to fill up the house.

As for the necessity to be rich to attend a normal performance of SIX, ticket prices start at $100 currently, and even less after the new year."

Other than this Tuesday's performance, which seems to be an exception for some reason, where do you see $100 tickets being sold for Six in October, November, or December? Which dates? I've been looking on ticketmaster and I can't find any being sold for that price except for companion seats for wheelchair-accessible seats.

Updated On: 10/3/21 at 09:50 PM

[EDSOSLO858]

Posted: 10/3/21 at 9:53pm

https://www.nytimes.com/2021/10/03/theater/six-review-broadway.html

Wow

[Alexander Lamar]

Posted: 10/3/21 at 9:56pm

forfivemoreminutes said: "ErmengardeStopSniveling said: "SFFrontRow said: "YvanEhtNioj said: "Almost every Broadway celebrity you can think of is in line to get into the show right now, which is nice to see."

From what I have read about the pricing on this show - you would have to be rich and/or famous to be able to see this show."

Nobody pays for opening night tickets. The performance is invite-only. All the key people involved with the show have allocations of tickets (ranging from one ticket to dozens of tickets); there is always a sizeable group of people invited for press purposes by the press office and the producer. Most of those comp tickets include passes to the Opening Night party too.

The only exception is if a production puts tickets on sale to the general public. Usually those are 100 or fewer bad mezz/balcony seats put on sale at the last minute to fill up the house.

As for the necessity to be rich to attend a normal performance of SIX, ticket prices start at $100 currently, and even less after the new year."

Other than this Tuesday's performance, which seems to be an exception for some reason, where do you see $100 tickets being sold for Six in October, November, or December? Which dates? I've been looking on ticketmaster and I can't find any being sold for that price except for companion seats for wheelchair-accessible seats."

I just looked at December 6 (a random date I picked) and there are an number of $99 seats available  

 

[YvanEhtNioj]

Posted: 10/3/21 at 9:56pm

Jordan Levinson said: "https://www.nytimes.com/2021/10/03/theater/six-review-broadway.html

Wow"

Literally an all-out rave. So happy. I remember back when the show was first starting to make waves and people on this board were very much saying that it would never survive on Broadway, That it didn’t belong on Broadway, And it was just a glorified comedy show. And well.. here we are. 

[HenryTDobson]

Posted: 10/3/21 at 10:07pm

So glad to see the positive reviews, especially the rave from NYT, but here we are on another opening night where we're getting the opinions of white old men, an audience this show was definitely not built for. We need more diversity in our reviewers. 

[forfivemoreminutes]

Posted: 10/3/21 at 10:10pm

HenryTDobson said: "So glad to see the positive reviews, especially the rave from NYT, but here we are on another opening night where we'regetting the opinions of white old men, an audience this show was definitely not built for. We need more diversity in our reviewers."

And the majority of the old white men seem to be completely missing the point of the show and particularly of "All You Wanna Do" (regardless of their mostly-positive reviews). This whole paragraph from The Hollywood Reporter:

"This latter aspect seems a tad forced and opportunistic. It’s as if the authors want to have it both ways, notably in their treatment of Katherine Howard (Samantha Pauly). Traditionally viewed as a promiscuous temptress, she’s depicted here with a pink, Ariana Grande-esque topknot and a Barbie bod, boasting, “Ever since I was a child, I’d make the boys go wild.” In her solo, “All You Wanna Do,” she recounts learning about “dynamics” at age 13 from her music teacher, then scatters a trail of double entendres about sexual experience as she retraces her upward path from lady-in-waiting to wife No. 5. When Henry’s bad temper and his gross friends cause her to seek the friendship of a kind courtier, she flips the perspective to point up the pattern of predatory male behavior that landed her on the chopping block."

Completely misses that the whole point of the song is to show her going from thinking her early relationships were consensual/positive to recognizing that they were abuse...how could multiple reviewers just miss that???

[YvanEhtNioj]

Posted: 10/3/21 at 10:14pm

I’m starting to realize that the moment you mention anything remotely socially conscious on Broadway, the reviewers start picking it apart 
 

Edit: it’s giving me the same “too woke” energy that people have on here sometimes. I think that alone is a reason why we need younger/more diverse critics reviewing the newer generation of shows 

Updated On: 10/3/21 at 10:14 PM

[ggersten]

Posted: 10/3/21 at 10:25pm

Jordan Catalano said: "“I think we can all agree I’m the ten amongst these threes” is one of my favorite lyrics in the show."

"Stick around and you'll Suddenly Seymour" may be one of the slyest Broadway references.  Admittedly, I didn't catch it the first several times I heard it. 

 

[TaffyDavenport]

Posted: 10/3/21 at 10:29pm

‘Six’ Broadway Review: Henry’s Wives Get An Overdue Royal Treatment – Deadline

[TaffyDavenport]

Posted: 10/3/21 at 10:29pm

Review: ‘Six’ opens on Broadway - Chicago Tribune

[TaffyDavenport]

Posted: 10/3/21 at 10:30pm

'Six' review: The wives of Henry VIII are divas on Broadway (nypost.com)

[YvanEhtNioj]

Posted: 10/3/21 at 10:37pm

Based on the reviews, I definitely predict noms for Best Musical, Best Costume Design, and Best Score.

[TaffyDavenport]

Posted: 10/3/21 at 10:37pm

Double post

Updated On: 10/3/21 at 10:37 PM

[TaffyDavenport]

Posted: 10/3/21 at 10:37pm

4 $99 mezzanine row G seats popped up for this Thursday.

[Feldmania]

Posted: 10/3/21 at 10:45pm

forfivemoreminutes said: "YvanEhtNioj said: "forfivemoreminutes said: "YvanEhtNioj said: "TimeOut New York is positive - 4/5 stars"

But hard disagree on TimeOut New York saying that "All You Wanna Do" is the least well-crafted song...I think that song is the MOST well-crafted song and the one that does the most to actually transform the story of the six wives into something new and progressive."

Yeah I gave that the side-eye.I think the least well-written song is “No Way”

"

Yes...and probably the least progressive/transformative song is "Don't Lose UrHead." That one, while in my opinion a fun song, is relying on the same old tropes about Anne Boleyn. But "All You Wanna Do" actually does something new and fresh and transformative...I feel like the reviewer just didn't "get it," maybe."

Hi, folks! Someone called my attention to this thread so I'd like to jump in and clarify a bit, because there seems to be some confusion surrounding what I think about "All You Wanna Do." What I wrote in my review was this: "Katherine Howard (Samatha Pauly), under Ariana Grande’s fountainous ponytail, performs “All You Wanna Do,” a sexy pop-princess strut that turns sour. (Perhaps Six’s most ambitious song—it’s the only one that involves a real dramatic arc—this is also the least well-crafted. But in a show as meta as this one, that may be an intentional jab at pop lyric-writing.)" 

I didn't "not get" the song. I do know what the song is doing, including specifically what it is doing in gradually casting a different light on what it appears to be initially. That's why I described it as the show's most ambitious song. (In fact, I like the song overall and I actually wish there were more songs like it in the rest of the score.) When I mention the craft, I'm talking specifically about the technical craft. "We have a connec-TION" and "He's DE-vo-TED" are just plain bad prosody: The syllables don't sit on the melody right. As I noted, that may be intentional, because songs in the subgenre being pastiched here tend to do that kind of thing all the time. But if so, I think it's a mistake, because in a way this is the song that needs to be taken most seriously in the show, and I think the sloppiness (or the deliberate evocation of sloppiness) compromises that effect a little.

You may disagree, which is fine! Carry on. :)

Best,
Adam 

Updated On: 10/3/21 at 10:45 PM

[Miles2Go2]

Posted: 10/3/21 at 10:56pm

This was the last show on Broadway I saw before the lockdown. And even though I didn’t absolutely love it, it’s exciting to read reviews on opening night again! I feel like shows like this that draw an enthusiastic, younger crowd may just be part of what helps Broadway survive the pandemic.

[YvanEhtNioj]

Posted: 10/3/21 at 10:59pm

Okkkkaaayyy that makes sense. Thanks for clarifying, Adam. Overall really enjoyed your review

[forfivemoreminutes]

Posted: 10/3/21 at 11:03pm

Feldmania said: "forfivemoreminutes said: "YvanEhtNioj said: "forfivemoreminutes said: "YvanEhtNioj said: "TimeOut New York is positive - 4/5 stars"

But hard disagree on TimeOut New York saying that "All You Wanna Do" is the least well-crafted song...I think that song is the MOST well-crafted song and the one that does the most to actually transform the story of the six wives into something new and progressive."

Yeah I gave that the side-eye.I think the least well-written song is “No Way”

"

Yes...and probably the least progressive/transformative song is "Don't Lose UrHead." That one, while in my opinion a fun song, is relying on the same old tropes about Anne Boleyn. But "All You Wanna Do" actually does something new and fresh and transformative...I feel like the reviewer just didn't "get it," maybe."

Hi, folks! Someone called my attention to this thread so I'd like to jumpin and clarifya bit, because there seems to be some confusion surrounding what I think about "All You Wanna Do." What I wrote in my review was this: "Katherine Howard (Samatha Pauly), under Ariana Grande’s fountainous ponytail, performs “All You Wanna Do,” a sexy pop-princess strut that turns sour. (Perhaps Six’s most ambitious song—it’s the only one that involves a real dramatic arc—this is also the least well-crafted. But in a show as meta as this one, that may be an intentional jab at pop lyric-writing.)"

I didn't "notget"the song.I do know what the song is doing, including specifically what it is doing in gradually casting a different light on what it appears to be initially. That's why I described it as the show's most ambitious song. (In fact, I like the song overall and I actually wish there were more songs like it in the rest of the score.)When I mention the craft, I'm talking specifically about the technical craft. "We have a connec-TION" and "He's DE-vo-TED" are just plain bad prosody: The syllables don't sit on the melody right. As I noted, that may be intentional, because songs in the subgenre being pastiched here tend to do that kind of thing all the time. But if so, I think it's a mistake, because in a way this is the song that needs to be taken most seriously in theshow, and I think the sloppiness (or the deliberate evocation of sloppiness) compromises that effect a little.

You may disagree, which is fine! Carry on. :)

Best,
Adam"

That’s fair! I did misunderstand what you meant in terms of “well-crafted” - I’m not an expert on the technical craft of songwriting, so I think your point is fair and you probably know much more than I do on that front. I thought you were referring to the broad arc of the song and the story it’s telling, which I think is the highlight of the show and the most subversive part. I think the emotional beats of the song (from Howard almost bragging about her “relationships” with older men as a thirteen year old to realizing that what she experienced was actually abuse and manipulation and coercion) are right on point and very cleverly done, and also very true to how trauma survivors make sense of their own reality over time (as someone who works with survivors of sexual violence in my job). But I take your point about prosody and these two perspectives can co-exist. :)

[Esther2]

Posted: 10/3/21 at 11:11pm

Peter Marks in the WaPo could not be gushier.