Exciting! But not surprising, given they have been public about Oskar Eustis' role in helping to develop the show. If what you heard is true, I look forward to seeing it on the season announcement (hopefully along with the new Sondheim show).
I know many thought Soft Power was awful, and I'll be the first to admit that it had serious issues, but I still think it's absolutely brilliant.
I was one of the people who thought it was awful. Great cast, great writers attached but a bad product came out of them. I really didn’t even see potential. Interested to see what New York audiences think.
I loved Soft Power and saw it twice at the Curran. The score was so wonderful, and some songs were so beautiful, both as a R&H echo and on their on, and the multi-faceted perspective was something that theatre does well (but is the main challenge for a profitable run). I think I will forever picture Hillary with the Ice Cream.
I eagerly await news of its latest development at The Public.
As for a commercial run, I DO think you need to remove one of the framing devices, probably the real playwright telling the story (and keep the future TV panel), And how to explicitly reference the King & I? A puzzlement.
Saw Soft Power twice in Los Angeles because I was there 12 nights and looking for some theatre. It was a dry spell and that's why I went both times. I found the musical clicked the second time for me. It needed work but the Public's Newman theatre is a perfect place. Wish all involved the best.
GeorgeandDot said: "I heard this was messy brilliance. Hopefully, they're able to pull it together into something coherent."
That honestly sounds like the best way to describe it. I saw it at the Ahmanson and it definitely needed some work but it was so out there that I would still be willing to see it in that form many more times just for the sheer wtf moments it generated.
Though I do wonder how much it changed between the LA and SF productions, not sure if anyone can speak to that.
I'm in the "I hated it" camp. I sincerely thought it was one of the worst things I've seen. HOWEVER- I am fascinated (and respect) how split people are on this. Even in this thread it's 50/50.
"I never had theatre producers run after me. Some people want to make more Broadway shows out of movies. But Elliot and I aren't going to do Batman: The Musical." - Julie Taymor 1999
GeorgeandDot said: "I heard this was messy brilliance. Hopefully, they're able to pull it together into something coherent."
Messy brilliance was as great way to describe. I'm in the "I loved it" camp, although I could see the places where it needed work.
I happened to go the same night that Anthony Kennedy announced he was stepping down from the Supreme Court, and the subsequent political reaction. I think the ending scene would have gotten to me anyway, but it felt particularly poignant that night.
I actually loved Soft Power. I also got to see it twice in LA. The score, set design, choreography, acting and singing was great. Yes the book needed some work but i still thought it was brilliant. It's nothing like ive ever seen before. I hope they keep the same cast, especially the actress who played Hillary Clinton. She stole the show for me. I need a cast recording to belt out "democracy".
I saw it in LA this past June and really enjoyed it, a lot more than I thought I would. I was hoping it would come in this season but I hope it comes in during the 2019-20 season in the spring maybe. The book has problems but I know the production at the Public will hopefully make improvments.
This show will flop very hard unless it is completely reworked. It was a trainwreck in LA. There were some good ideas in there, but it is also the weakest of Jeanine Tesori's scores. I saw it in May and I can't remember a single word of the score. There was just too much going on. In the same show you had DHW incorporating his real-life stabbing, Hillary Clinton being an actual character binge eating ice cream because she lost and then the finale everyone singing about how beautiful democracy was. I honestly felt it just didn't work, and can't see a version where it will, as much as I wanted it to.
Even though I liked the show, I will admit, I thought that the incorporation of his stabbing stabbing was among the poorer choices he made. It seemed like it was a combination of DHH not knowing when to stop putting his own experiences into the work (a common pitfall for people who write plays about themselves), and him not trusting the audience to make the leap into this non-realistic world. The musical doesn’t need to exist in a fever dream within the world of the show. It can just exist, and the audience can suspend their disbelief because it’s theatre, and it’s deliberately non-realistic in style.
Saw this today - or at least I tolerated act 1. This is absolute GARBAGE. A dumpster fire. I cannot believe Tesori would have put her name on this. (( And no I’m not a Trump supporter- before any snarky comments- lol.)) Please- save your cash!