SPRING AWAKENING revival flailing at box office — Page 4
#77
Posted: 10/12/15 at 1:13pm
Why was this rushed into extending after a week of previews? Ohhh Ken Davenport.
#78
Posted: 10/12/15 at 4:12pm
wonderfulwizard11 said: "People can afford the seats, but those that can don't want to buy them for this show. It was never a really popular show beyond a younger crowd, and on top of that it's not an easy thing to sell the concept of a musical with deaf actors to a wide audience. The ticket prices aren't an issue here- it's just a hard sell and while it's a shame to see a worthwhile show struggle, it shouldn't come as a surprise. "
When I first heard about it, I was very excited, since I'm deaf. I borrowed the CD and the script from the local library. I listened to the music twice. And I didn't enjoy it. SA just wasn't for me. I should be supporting Deaf Art, but I refused to do it out of guilt.
Put out a quality show that will make me move mountains to get there. Fun Home, for example. I would definitely see it again, even without accessibility. It's that good.
#79
Posted: 10/12/15 at 4:21pm
Put out a quality show that will make me move mountains to get there. Fun Home, for example. I would definitely see it again, even without accessibility. It's that good.
Spring Awakening is a quality musical. That is not the problem. It won Best Musical in 2007. It has quite a following and was an interesting show choice. The problems with this production are all due to the producing team. It shouldn't have extended as they can barely sell it already. Also, the discounts aren't there.
#80
Posted: 10/12/15 at 4:21pm
Well that's... kinda subjective.
#81
Posted: 10/12/15 at 4:28pm
Gee, Rocky Road, for someone who hasn't seen this production, you're drawing a lot of conclusions about how much you don't like the show from the 8-year-old OCR, which of course was a radically different staging and cast, and which contained no deaf story line whatsoever.
The new production is a very different animal. True, it is still about teenagers in a repressive society, but now it is actually ABOUT deaf and hearing teenagers in a society specifically repressive to deaf people, with both deaf and hearing parents as guilty parties in the tragedy. As most of the posters on this board can attest, this is a one-of-a-kind exploration about the deaf experience that stands alone as a great work of art. Enjoying this production has absolutely nothing to do with guilt, let me tell you.
Separately you write: "I listened to the music twice. And I didn't enjoy it." Since you're deaf, help me understand what it was about the music that you didn't enjoy. As a hearing person, I'd sincerely like help in understanding how that can be. (Can a blind person dislike the way a backdrop is painted?)
Updated On: 10/12/15 at 04:28 PM
#82
Posted: 10/12/15 at 4:28pm
How does them extending seem to offend some people? They tried something, they have a lovely product, it's not selling. Happens all the time
Shouldn't you be more upset with the supposed legions of fans that aren't coming to see this?
If we're not having fun, then why are we doing it?
These are DISCUSSION boards, not mutual admiration boards. Discussion only occurs when we are willing to hear what others are thinking, regardless of whether it is alignment to our own thoughts.
#83
Posted: 10/12/15 at 4:53pm
I was honestly never a huge fan of SPRING AWAKENING. The concept involving anachronistic rock music in 1891 Germany just did not jive for me (and I wanted to scream every time a song started and a character pulled a microphone from their costume, because I found it so hokey).
After seeing it yesterday afternoon, I am officially a convert. I feel like the usage of ASL adds a layer to the story that gives a bit more of a barrier to these characters learning about sexuality other than the fact that their parents and society are both rather stodgy. It makes one feel for the characters who are deaf, that society has outcast them because of their disability, despite the fact they are curious beings like their parents and other children their age are.
SPOILER ALERT!
I now have a HUGEEEEE man-crush on Daniel N. Durant. His Moritz was one of the most fleshed out and fully realized characters I saw on that stage, or any stage. The two scenes that made me burst into tears in the theatre (which I never do) are when he is speaking to his father about "hypothetically" failing, and his father sees through his ruse and, aside from a singular outburst by the father, proceeds to disown his own son through sign language, and also during Moritz's suicide scene where, right before he pulls the trigger, he sends away the actor who plays his voice (which I thought was a device that was used magnificently) before pulling the trigger, signifying that deciding to take away his own life is the first time his life was in his own hands (no pun intended).
I need to go back and see this again, and I can't understand why more people aren't exploring alternative productions of theatre like this one.
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#84
Posted: 10/12/15 at 6:27pm
Same here. I didn't love the original production (and I still don't LOVE the play itself) but this production is spectacular and people who are not going are sadly missing something very very special.
#85
Posted: 10/12/15 at 6:33pm
I would go so far to say that I DISLIKED the original and adored this. I think the marketing could do a lot more to differentiate it. The main key art and color scheme are terrible.
#86
Posted: 10/12/15 at 10:19pm
I can hear with a Cochlear Implant. I've listened to SA, Fun Home, Hamilton, and Matilda. Matilda didn't do it for me either. Too fast. Not crazy about Rap but Hamilton is a bit more pleasing to listen to.
Some rock bands I like, some I can't stand. Same thing. The SA music really didn't do for me.
I'm not writing off SA. I'll see if it's worth the long trip to see the show.
#87
Posted: 10/12/15 at 11:50pm
RockyRoadPicks said: "I can hear with a Cochlear Implant. I've listened to SA, Fun Home, Hamilton, and Matilda. Matilda didn't do it for me either. Too fast. Not crazy about Rap but Hamilton is a bit more pleasing to listen to.
Some rock bands I like, some I can't stand. Same thing. The SA music really didn't do for me.
I'm not writing off SA. I'll see if it's worth the long trip to see the show.
It is. This is one production you have to SEE with your eyes LIVE to appreciate its true beauty. like many have stated here, the incorporation of ASL have elevated the material to a much higher level symbolically and metaphorically.
"
The thing is, besides being an utter toad of a human being, Riedel usually has the least knowledge of the topic in the room. He doesn't usually understand the content or approach of a show, and is always completely and unfailingly socially ignorant, which makes it really infuriating when Susan can't get a word in edgewise. A definitive mansplainer; it's always painful when he has female guests. I watch the show sporadically when I really want to see a guest, because it's the only theatre talkshow we have, but it would be so much better without this hateful clown in a dadcoat. (thanks ScaryWarhol)
#88
Posted: 10/12/15 at 11:54pm
one of the most amazing, moving, cathartic evenings at the theater, ever. i saw the original and was mixed on it - although I've always enjoyed the music
#89
Posted: 10/13/15 at 9:35am
Ken Davenport has not had success as a lead producer, and the idiotic choices made again with this production show the reasons why.
#90
Posted: 10/13/15 at 9:53am
neonlightsxo said: "Ken Davenport has not had success as a lead producer, and the idiotic choices made again with this production show the reasons why. "
sigh.
The thing is, besides being an utter toad of a human being, Riedel usually has the least knowledge of the topic in the room. He doesn't usually understand the content or approach of a show, and is always completely and unfailingly socially ignorant, which makes it really infuriating when Susan can't get a word in edgewise. A definitive mansplainer; it's always painful when he has female guests. I watch the show sporadically when I really want to see a guest, because it's the only theatre talkshow we have, but it would be so much better without this hateful clown in a dadcoat. (thanks ScaryWarhol)
#91
Posted: 10/13/15 at 10:14am
I decided to check this one out last night and while the cast is all talented and working their ass off, spring awakening itself is a flawed flawed show. It was written I think to try to be different and sometimes you can try to hard. The show is completely self absorbed, the drama is forced nothing just is. In all my years I have never hoped so much to get to the end of a show. And while I have disliked a person's performance in a show or a part of a show this was just a night I'd like to forget. But I do have to say in a high caliber cast that Austin boy is a brilliant performer and I hope to see him in many things to come.
#92
Posted: 10/13/15 at 1:02pm
sigh.
I know you weren't responding to me and instead to neonlights' very accurate statement, however I'd love for you to expand on it then just sighing...
#93
Posted: 10/13/15 at 1:40pm
I'm glad to hear from those of you who didn't like the original, but have enjoyed this production.
The Deaf West performance is what I'm drawn to. I wasn't a fan of "Spring Awakening", and, in fact, quite disliked it, so I was disappointed that the next Deaf West performance would be of this particular show. I decided not to go see it. However, in light of some of the positive comments from those of you who also disliked the original, I've changed my mind. Thank you.
"Two drifters off to see the world. There's such a lot of world to see. . ."
#94
Posted: 10/13/15 at 5:36pm
I was with you, Addie. Not at all a fan of the original production, nor of the score (lovely music but wedded to opaque inexplicable lyrics.) This production (at least the one I saw in LA) turned me around 180 degrees. The overlay of ASL and deafness as another way these kids are locked out of the adult world was beautifully drawn and perfectly appropriate to the material. Much like CURIOUS INCIDENT, it gave me another way to see the world, through a different set of eyes (or ears). Isn't that what the best theater is supposed to do?
And for RockyRoad, yeah, I would say THIS production of this show is worth traveling great distances to try to see.
Updated On: 10/13/15 at 05:36 PM
#95
Posted: 10/13/15 at 9:18pm
I saw the show again with my Mom on Sunday and she loved this production. I have been twice, both with TDF. First time, I was seated left orchestra row J seat 15. This time, we were seated right orchestra row L seats 12 and 14. Both times, excellent seats.
#96
Posted: 10/16/15 at 5:14pm
has anyone here been given an orchestra upgrade? i bought the cheapest seats in the house and then was given an orchestra upgrade when i was up there. ended up being sixth row. fantastic seats.
#97
Posted: 10/17/15 at 12:50am
How did you get an orchestra upgrade? Did you ask the ushers if you could move?
#98
Posted: 10/17/15 at 1:00am
Lots of theaters, when the theater has many empty seats will move people. A few years ago, when I was with a large group seated in the rear mezz, about 20 of my group were escorted to the front mezz. But it wasn't all of us.
If we're not having fun, then why are we doing it?
These are DISCUSSION boards, not mutual admiration boards. Discussion only occurs when we are willing to hear what others are thinking, regardless of whether it is alignment to our own thoughts.
#99
Posted: 10/17/15 at 2:40pm
I am a regular theatre goer, and this has only happened to me once. Right before Wishful Drinking started, all of the ushers took the entire rear mezz and brought us down to the front mezz because Carrie Fisher wanted the show to feel more intimate.
Any other time I have moved it has been because I decided to. That is why I asked and would still like to know the answer - Do you have to ask an usher to get an orchestra upgrade?
#100
Posted: 10/17/15 at 3:20pm
Polka Dot2 said: "Any other time I have moved it has been because I decided to. That is why I asked and would still like to know the answer - Do you have to ask an usher to get an orchestra upgrade?"
I would say the general rule of thumb is to move without asking but only at intermission. Most ushers don't have the authority to reseat you; that power belongs to the house manager.
I've had no success being officially reseated when I've asked, and I've only done it when I've been totally dissatisfied with how partial my view was from my original seat. Perhaps others have had better luck than me with being formally reassigned prior to the start of a performance, but I doubt I would ask again. Instead, I would definitely just opt to see what's open at intermission.
Updated On: 10/17/15 at 03:20 PM
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