Posted: 11/16/16 at 6:15pm
I caught the matinee today. It was so good. I do hope this does transfer to Broadway. It would be a real shame if it didn't.
Posted: 11/16/16 at 9:38pm
Marianne2 said: "I caught the matinee today. It was so good. I do hope this does transfer to Broadway. It would be a real shame if it didn't.
I saw it today too -,loved it! I hope it transfers too. Sutton Foster was perfect.
Posted: 11/17/16 at 11:50am
So I saw this Tuesday and it was incredible!
I want to echo everything that everyone else said and add:
The show is largely about the dark side of sex work. This is something that is easily glossed over in every other production of Charity I have seen but the awfulness of the job and the men involved really was a meaningful way of bringing this show into a modern era. I felt Silverman's choices here were clear as she encompassed both a fierce all female pit and made the three womanizing roles played wonderfully by Perez. This production gives a lot to think about in terms of the place and purpose of women in the 1960s and this production was very compelling.
Additionally I did want to shout out Asmeret Ghebremichael as she was a FIERCE vocalist and performer outshining Padgett the night I saw out (which I thought would be the other way around), she in addition to Foster and Perez were definitely the highlights of the show.
Posted: 11/17/16 at 12:02pm
Spoilerish question: I saw the show Saturday night and loved it. My question:
As far as this production showing the dark side of sex work, I thought the point was made that Charity herself wasn't having actual sex with the men. And I think she says as much at one point. However, she does try to entice the actor to sleep with her, but he declines. Am I off base?
Posted: 11/17/16 at 12:11pm
Holy s**t! I can't believe none of us ever mentioned the all-girl band/orchestra. They were simply fantastic and I loved the minimal orchestrations. The score suited it perfectly.
And of note, re-interpreting "Big Spender" by having the ladies walk around the thrust stage and including Charity midway the number brought home what they actually did as work. Having the ladies dance with the patrons of the Fandango Ballroom was a detail never seen in any incarnation of SWEET CHARITY and only lightly seen in Bob Fosse's 1969 film adaptation. Even having them all wear the same ill-fitting sequined outfit and wearing wigs while working (different from their character's regular hair/wig) brought home the sleazy degrading element of their job. The new girl Rosie's arrival scene in Act 2 was never played so realistic - it is generally played with a lighter tone.
I could go on and on about how great this production is.
Posted: 11/17/16 at 1:09pm
Isn't there a scene where Oscar beats around the bush to asking Charity if she is a prostitute, and Charity somewhat pointedly does not respond? I think Fosse intentionally left it open to interpretation if Charity is a pseudo-exotic dancer of if she does (or has in the past) turned tricks.
Posted: 11/17/16 at 1:14pm
In regards to Asmeret outshining Emily. I am not surprised because Nickie is a twice Tony nominated role, and Bebe won for it in the Fosse revival. Helene is usually Nickie's sassy African American sidekick, so I was surprised when this revival switched the races, but there's no indication in the script that they shouldn't have been switched.
Posted: 11/17/16 at 4:57pm
Has anyone stagedoored? Where is the stage door - do people come out?
Posted: 11/17/16 at 5:43pm
I've managed to hear some of the music from an *ahem* less than reputable source, and despite the fact that I am a brass lover I get what they seem to be going for with the stripped down arrangements. More of a smooth jazz trio kinda feel, fitting as Coleman was a jazz composer who worked in that setting very often.
Posted: 11/17/16 at 8:53pm
Does anyone know where I can get the "windowcard" from this production? I know it's not a typical windowcard as it's a poster, but I've tried Triton and The New Group's website, but I can't find any info at all. There are 2 for sale on ebay but at $75.00 each, that seems crazy.
Any suggestions?
Posted: 11/17/16 at 9:42pm
Are you in the city? You could just swing by Signature...
Posted: 11/17/16 at 10:11pm
Thanks. I'm in Chicago and while I'd LOVE to be in the city, I won't be able to make it until after the show closes.
I was wondering if anyone knew if there was online place I could get the poster.
Posted: 11/17/16 at 10:11pm
Thanks. I'm in Chicago and while I'd LOVE to be in the city, I won't be able to make it until after the show closes.
I was wondering if anyone knew if there was online place I could get the poster.
Posted: 11/17/16 at 10:28pm
Riedel says if the reviews are good it could come next fall.
http://nypost.com/2016/11/17/gwyneth-paltrow-wants-to-be-a-broadway-producer/
Posted: 11/17/16 at 10:56pm
There is no stage door, so the actors just come out into the lobby and mingle with the audience who waited, staff, and the other show's audience as well. Sutton was so down to earth and genuinely thankful for the compliments, even stopped to chat. She's the real deal.
This production is good, however I'm still not sold on the overall book (and never have been) so it's hard for me to rave about it.
Posted: 11/18/16 at 12:27am
Just saw this tonight and it was one of the best pieces of theatre I've seen in a while. I thought Sutton Foster's comedic choices (especially during too many tomorrow's) were perfect! I also thought Where am I Going was so beautiful and powerful at the end. Do you think there will be any chance that if this transfers it'll get a cast recording? I know there are a million cast recordings of this show, but I feel like Sutton's performance and Emily and Asmeret's performances were so special that they should be recorded!
Posted: 11/18/16 at 8:20am
Hi there. I have an extra window card from Signature if you'd like me to mail it to you. I paid $25 for it and I don't mind mailing it. Send me a message if so.
Posted: 11/18/16 at 1:05pm
Finally some footage!
https://www.youtube.com/watch?v=4aHlqvNRkfk
Not a fan of the featured orchestration, but it's a small clip. And nice to see they included Charity's tattoo in this production, which was cut in 2005.
Posted: 11/18/16 at 1:14pm
Sutton really does look like Carol Brady! It looks really small and minimalist. I wonder if they would try to up the production factor if this transfers.
Posted: 11/18/16 at 1:17pm
I'm sure the small/minimalistic nature of the production is part of its charm, but some more instruments would be nice. If the current Color Purple revival could sound so good with 7 instruments, then Sweet Charity could do it as well. The Color Purple even managed to include a trumpet!
Updated On: 11/18/16 at 01:17 PM
Posted: 11/18/16 at 1:23pm
Well, I guess I mean it looks a little 'done on a budget' which I'm sure it is. If this were to get a transfer (which would be 5 million bucks at least) I would hope they might make some upgrades. I'm impressed that wig stays on her head when they shake her up side down. It does look straight from Canal Street.
Posted: 11/18/16 at 1:27pm
John Doyle productions that have been even more minimalistic have played just fine on Broadway, I doubt they would make many changes to the production values for this one. I am more concerned about the orchestrations.
Posted: 11/18/16 at 1:43pm
For those who have this seen production, it looks like they're using the Ferris wheel for the Coney Island scene rather than the parachute jump? Are they? If so, that might be the only thing they used from the 2005 revival.
Posted: 11/18/16 at 1:55pm
Yes, they are trapped on the Coney Island Ferris wheel in this production.
Also, the set design is stellar - not low-budget at all. Vittorio Vitale's luxurious apartment is very well presented in its minimal design. The brick wall and its doorways are cleverly used throughout the show.
Posted: 11/18/16 at 2:34pm
Never been to Signature... Where exactly is the box office located to pick-up the tix?
