SOME LIKE IT HOT On Broadway - Reviews & News Thread — Page 18

BarnabyTucker said: "

J. Harrison Ghee has every award coming their way and rightfully so."

AMEN.

i had a good time tonight, way more fun than i was expecting to have. I think it gets off to a creaky start, but the book (Amber Ruffin, with some input from Marc Shaiman, is my guess, knocks it out the park) soon picks up and the laughs start coming and what more can i really ask for?

well, a few things. but before i get to that, lets talk about the two absolutely perfect performances at the heart of this show. Borle has blown me away before, so I wasnt surprised that he simply kills every line, glance, note. But that makes it no less impressive. If anything, the show relies on him too much-- i shudder to think how this night goes without him.

And then there's J Harrison Ghee. Seemed a little tentative at first, but I think its actually a subtle, beautiful character arc hes doing up there. He sounds incredible, and I've never seen a more direct, unfussy, tearjerking presentation on stage of "I dont feel as comfortable as the person i was born as, this feels right." Ghee is given a few choice numbers but his ballad in Act 2 was outstanding. He's gorgeous and accessible and nails the humor--and all in heels. Blown away.

Some of Natasha Yvette William's lines get swallowed up, but shes given enough choice barbs that tear up the whole audience. Adrianna Hicks' character is kinda dull but man can she sing. I really enjoyed all the supporting characters (Kevin del Aguila's voice sounded weak tonight but he was still a delight; Angie Schworer is listed as "Ensemble" but shes phenomenal as a named character that gets tons of applause lines and of course dances her ass off)

The problem with the show, I think, is two fold. First, the score. Yes "Lets Be Bad" is used to incredible effect, and all the big song/dance numbers land. But the lyrics arent particularly intelligible, and very few of the tunes at all memorable. The ballads slow things down- and since the energy/humor is so fast paced and fun, i found myself wishing we could just move it along. Hicks is certainly the biggest victim of this, as shes given 2-3 slow numbers to belt out and none are very good/interesting.

The other issue I'd note is: why adapt this? You have such incredible talent here, and I cant quite understand why these songs and jokes were applied to this silly, creaky old plot. Dont get me wrong- the whole thing is whipped up into a wildly inventive dance/farce climax. But why do we keep demanding audience's buy into the whole "this woman cant tell the difference between Borle in a wig and without one!" Maybe I'm biased because I love the Doubtfire movie and have no exposure to Some Like It Hot, but at least Mrs. Doubtfire is fully made up to look nothing like her alter ego. Here theres such a 1940's hokey silliness that doesn't really lend itself to adaptation. And so they don't really know how to end the show except quick neat bows for everyone.

But hey I had a great time. The audience was roaring (and it seemed full but not sold out). I was especially heartened to see alot of 55+ people hooping and hollering at everything Ghee did. In that regard, this show works wonders: never too preachy, its the perfect way to get alot of people who I'm guessing dont count themselves as trans activists, screaming their heads off. And thats no small thing.

Recommended, and really wish it well.

TDF continues to mystify. There were plenty of empty seats on the edges of the orchestra, and towards the back. Not sure how they determine to put some people up in mezz rather than fill it.

Phrased that poorly. I meant TDF placement- i know the org has nothing to do with it. My point is just that its impossible to predict where you end up.

Saw the show this afternoon and enjoyed it more and more as the show progressed. The 2nd act danced chase scene is a work of genius.

Updated On: 11/18/22 at 10:59 PM

Bill Snibson said: "Have they done away with all of their discount codes? That weekly gross is less than stellar. Maybe the producers jumped the gun a bit and got a little ahead of themselves."

GETHOT still works but the discount isn’t as deep as it was before. I got a row G center mezz for $51 which is now in the $90 range and now balcony is $51.

pethian said: "Dollypop said: "Saw the show this afternoon and enjoyed it more and more as the show progressed. The 2nd act danced chace scene is a work of genius."



That 2nd act chase reminded me of another 2nd act choreographed chase, the brilliant 'Bathing Beauty Ballet' from HIGH BUTTON SHOES, which was later featured in JEROME ROBBINS' BROADWAY.



I agree...and I performed in a summer stock production of HIGH BUTTON SHOES. That chase scene was brutal to perform
"

Look at the gross not the %

Buddy of mine won the lottery a couple days ago and was mid balcony.

BCfitasafiddle said: "Where have rush seats been? I'm hoping to see it from the orchestra."

I got row C orchestra far side (11 & 13) for the matinee Weds. Fantastic seats. Was third in line at around 9:20 with about 15 in the line when the box office opened.

Updated On: 11/17/22 at 10:50 PM

L’EnfantTerrible said: "Like a lot of others, my overall impression was that too many talented performers were straining to push material that just wasn’t worth their efforts or the audience’s time."

This reminds me of Something Rotten.

the score is dull, so the ballads are slow and snoozeworthy, but the humor/pace is otherwise pretty quick. hard to fathom how someone could find it all *boring* but to each their own.

The producers can throw a show pre-party for “NYC tastemakers and celebs” but won’t throw an opening night party for their own dedicated company and crew.

SMDH, what an embarrassment!