I have rarely heard of reseating from the mezzanine to the orchestra. I have been reseated a few times. The first time was that Young Frankenstein, where the entire mezzanine was moved to the dress circle, which is the only time I've been moved into a completely different section. The other times it was moving from the last rows of the rear mezzanine to the first few or the last few of the front mezzanine. It normally happens when there is large section of the theater, normally the mezzanine, that remain unsold, and so the house manager decides to move everybody behind tye empty section up, to make the theater feel more full. Updated On: 10/18/15 at 07:53 PM
No, no one else was moved to my knowledge. The producers give out a pair of orchestra upgrades at each show. He was standing next to me outside the theater, must have memorized my seat number (he was looking at my ticket) and the. Appeared there and gave me two upgraded seats
Scored a seat in the fourth row this afternoon at TKTS. I cannot remember the last time I was SO moved by a production. This is an absolutely beautiful production that surpassed any expectations that I had walking in.
It sounded more like the producers were just doing a random upgrade for two people per show from the cheaper seats to orchestra seats, more like a promotion than anything else, no?
I saw this show last Sunday, and I had some issues with it. I loved the idea, but there seemed to be a serious disconnect at times between the deaf and hearing actors playing the same role. In particular, the two Moritz' seemed to offer two distinct portrayals of the character, with the hearing actor vocalizing an intense need and urgency in everything he said while the deaf actor didn't have that same focus. Both portrayals were perfectly valid, but having both of them attached to the same character at the same time was confusing to me. It almost seemed like the two Moritz' were struggling to communicate, which may have been a powerful underscore to the themes of the musical if not for how clear it seemed to me that this was not intentional (mainly, how much it interfered with understanding the character, at least coming from an audience member who hasn't seen the show before).
As a side note, I sat in the rear mezzanine. Don't do that. If you're going to spend money on this show, you have to spring for the orchestra - you simply must see facial expressions on the deaf actors/actresses faces. I feel like I missed out on a lot not being able to do that.
BROADWAY: The Cripple of Inishmaan, This is Our Youth, If/Then, Hedwig and the Angry Inch (x3), Cabaret (x2), The Real Thing, A Gentleman's Guide to Love and Murder, Chicago, Les Miserables (x2) Disgraced, Finding Neverland, On the Twentieth Century, Wolf Hall Part I, On the Town, Fun Home; TOURING: Jekyll and Hyde, The Book of Mormon; LOCAL: The Twilight Zone, Anne Boleyn, Death and the Maiden, The Lying Kind, Chorus Line, Stupid F**king Bird
Tonight's show had to deal with some technical flaws. Problems with the audio had been going on for a while during the second act, the dialogues were frequently disrupted by distracting noises and 'bangs'. Especially Krysta Rodriguez's microphone was having an off-night, resulting in her having to talk most parts of her scene with Moritz without any help from the audio system. Things got worse when during Blue Wind her mike stopped working totally, she then danced her way to the side of the stage to grab an external mic and continued singing and signing the rest of the song holding that one. She handled the situation in a very professional way, and it kinda reminded me of the original Spring Awakening years ago.
Besides that, Spring Awakening was, once again, amazing. It was my second time seeing the show and I might have loved it even more since I got to sit in the center second row of the mezzanine, which allowed me to enjoy the beautiful staging to the fullest. I got my ticket via Todaytix for only 27 dollar, so for anyone who was still wondering whether he should see the show or not: this is your chance.
By the way, after the show Krysta Rodriguez gave a speech about her personal experience with breast cancer and how a non-profit organization, forgive me for forgetting its name, helped her through it. This was followed by a fundraising for Broadwaycares.
One of the bittersweet things about this production not really succeeding in attracting the great commercial, touristic public is that u can choose practically any seat you want in the mezzanine without any problem. Such a shame that this beautiful and moving production isn't more of a success, because there is more crap on Broadway attracting much greater crowds for a far less interesting show. Have not seen a mezzanine this empty in a very long time. Besides some lost tourists, only the last two rows, who had been sold to TodayTix users, were filled.
I was there tonight, as well, and was really taken with the production. I think I heard so much about the challenges of staging this, from how to cue the cast for different things, doing choreography to music you can't hear, and on and on... I sort of quickly realized that for the audience, it is just Spring Awakening with a different framing device. Any other challenges were all on the cast, not the audience... and I found that even as things switch from being projected, signed, and on and on, it seemed to be done in a way that you were always drawn to where you were supposed to be looking very naturally.
I did watch Joshua Castille during Purple Summer at the end, and it was sort of transformative how much musicality and emotion he was able to channel through his entire body and signs. Highly recommended...
Only downside was I booked this because I saw Camryn was going to be out through the 14th, so I booked the 15th, and she wasn't on tonight, either. And I chatted with her at Barbecue about the show, we have a mutual friend we discussed for a while, and then I ran into her on the street, and we chatted again, where she said to make sure I find her afterward and say hi. Maybe I'll go again, if TodayTix is plentiful and the mezz is selling that poorly... I cashed out some Audience Rewards points to be in the second row orchestra tonight, since this is one of the shows I was most looking forward to seeing right now.
Sam2 - how did you get a $27 ticket on TodayTix? It says that the cheapest is $47
i saw the show about two weeks ago on a Sunday night. I had gotten seats all the way in the back with the hopes of being able to move up, but the show was sold out.
i didn't get as drawn into the show as I wanted to. I think I really needed to be closer for this one. Most shows I am fine with being in the rear mezz, but I felt distant at this one.
Polka Dot2 said: "Sam2 - how did you get a $27 ticket on TodayTix? It says that the cheapest is $47"
There were $37 tickets for a bunch of dates for sale earlier this week. Since I don't have people who want to spend their life saving's on tickets so they can give me a ten dollar discount, I used the SUBWAY-code. I believe it's for first time users only, or that u can only use it once, but creating a new account can't be that hard, I suppose. (Sorry for being a bastard)
Haterobics, how did you like the view from the second row? I sat at the extreme side of that row during previews and it is not until going back sitting in the mezzanine before I realized how much I had missed. But much has to do with your position in the row, off course.
I was second row, on the aisle, center orchestra, with no seat in front of me... When Moritz jumped offstage to run down the aisle, his jacket smacked me in the head, so pretty close, pretty centered, didn't miss a thing.
Did no one ever mention Andy showing his booty during Totally Fu&*ed?! Wasn't expecting that, but wasn't complaining, either.
^It's one of the guilty pleasure highlights of the show. Besides Austin McKenzie's entire appearance, off course. I would have loved to hear more of his falsetto, by the way. It sounded very promising.
"Tonight's show had to deal with some technical flaws. Problems with the audio had been going on for a while during the second act, the dialogues were frequently disrupted by distracting noises and 'bangs'."
That's very strange. Does anyone have an explanation for this or know if they're doing anything to resolve the issue?
VintageSnarker said: "That's very strange. Does anyone have an explanation for this or know if they're doing anything to resolve the issue?"
The wire into Krysta's mic pack was seemingly loose, so it would make noise as it was moving around, until it finally came out entirely. Nothing systemic that needs resolution, just one of those things that happens, live theater and all.
Indeed. At first I couldn't really point out what the problem was because the distracting noises could also be heard when Krysta wasn't talking at all. A girl who was seeing the show for the first time didn't really get what happened storywise during the show, so maybe other people who saw it for the first time or who weren't familiar with the original might have not totally gotten it. But as said, the entire issue was handled in a very professional way, respect for that because Krysta had to figure it all out without off stage discussion with a technician. Wonderful show, though.
So, they are running a special ticket price in honor of the ADA, which doesn't include any of the accessible seating? Only rear mezz... D'oh! So it's in tribute of the accessibility, not for anyone who needs accessibility, heh.
Well to be fair, wheelchair seating is usually the normal orchestra price and is a very limited quantity available.
Side note - in 1996, when I came to NYC with my dad (who was in a wheelchair) for a theater trip, we paid around $15 each for wheelchair seating to see VICTOR/VICTORIA, ONCE UPON A MATTRESS, BEAUTY AND THE BEAST and SUNSET BLVD, all in the orchestra.