Shows that picked the wrong theatre and the right theatre — Page 4

Much too often, the gtheater has little to do with the success/failure of a show. (No doubt that it did for On the Town, however.)

To underscore about SIDE SHOW: It would've had a far better shot in a smaller house, but I actually thought it looked lovely in the St. James (saw it twice there). The score is emotionally expansive, and plays beautifully in medium sized house.



The Tesori-Kron score for FUN HOME, which is exquisite, so perfectly fits the intimacy of Circle, it makes me question how the music will land in bigger houses on the road. The material is introspective and often inherently ruminative, very little is sung between/to characters ("Joan" the exception). A perfect small song like "Maps" -- so ideally served where the show is being performed -- could get lost in a large space. I especially fret about the heartstopping "Telephone Wire," which Gold turns into magic with the audience so near. Making this material more presentational -- or just more accessible, re-thought and re-sized -- on the road seems required.

Auggie27 said: "



The Tesori-Kron score for FUN HOME, which is exquisite, so perfectly fits the intimacy of Circle, it makes me question how the music will land in bigger houses on the road. The material is introspective and often inherently ruminative, very little is sung between/to characters ("Joan" the exception). A perfect small song like "Maps" -- so ideally served where the show is being performed -- could get lost in a large space. I especially fret about the heartstopping "Telephone Wire," which Gold turns into magic with the audience so near. Making this material more presentational -- or just more accessible, re-thought and re-sized -- on the road seems required.



"

I agree-Telephone Wire is especially intimate as you say. I hope the tour books as intimate theatres as possible. Here in Canada the Broadway subscription your seasons almost always just stick everything in the same massive barn theatres which would kill this show. Also curious if they will return to the design used for the Public production-I know there was one coup de theatre moment in that staging that many who saw it and then the Circle transfer missed

This is slightly off-topic but still somewhat related to theater choices. After seeing The Color Purple last weekend, I walked away cold due to how muddled the sound was to my ear. Upon some reflection, I realized I had the exact same problem seeing Once a few years earlier in what happened to be the exact same row in the mezzanine. It's awfully annoying to think about because I wanted so badly to love those productions.

With that said, the first time it happened I recall believing the sound designer for Once was entirely to blame, but now I believe it to be something related to how the sound travels through the mezz of the Jacobs. However, my point to make in this thread is that any theatre can be the "wrong pick" when the designers aren't prepared to fully explore the particular quirks of the space in order to tweak their work to suit it. And of course, I do recognize that this problem with the Jacobs' mezzanine may just be own. I've never had this happen before, though. Needless to say, I'll be avoiding the mezzanine there from now on.

Updated On: 5/9/16 at 12:50 PM

PThespian said: "
It is a simple, intimate show at its heart. That sense of intimacy had a hard time travelling up to the balcony. "

Very good point... though I don't know any Broadway show where people still had an intimate experience from sitting up in the balcony. I recently watched Something Rotten and Matilda from sitting up in the balcony and both were vastly different experiences from sitting in orchestra.

Personally, I think the Circle in the Square is a great space for any show as there really is no 'bad seat.' I wish the Great Comet got that space since it would be similar to the Kazino tent they had in midtown two years ago.

American Psycho and Blackbird two of my favorite shows of the season, and I just really think American Psycho would've been a great fit for the Belasco, and Blackbird would have equally worked in the Schoenfeld.

GreasedLightning said: "You all just got me thinking about a revival of A Chorus Line done in the round at Circle In The Square.

Chills.


How would that even work? I can't think of a show less conducive to theater in the round.

Alex M said: "VotePeron said: "American Psycho and Blackbird two of my favorite shows of the season, and I just really think American Psycho would've been a great fit for the Belasco, and Blackbird would have equally worked in the Schoenfeld. "

I have thought this for so long!"



YES! Especially considering the horrible sight lines for the set for Blackbird from the balcony at the Belasco. However, I do love American Psycho at the Schoenfeld.

somechrysanthemumtea said: "hork said: "GreasedLightning said: "You all just got me thinking about a revival of A Chorus Line done in the round at Circle In The Square.

Chills.


How would that even work? I can't think of a show less conducive to theater in the round.





"

I believe that A Chorus Line has actually been done in the round before on one of the tours, Donna McKechnie talks about it in her book, and it sounds fantastic from the description she gives.



"

It has been – thank you!

Why so closed minded, hork & mama? Revivals are supposed to be reimagined, reconstructed, REVIVED. Seems like you two have no imagination. What a bore.

The heart-pumping story, score and choreography of A Chorus Line would be electric in an intimate theater-in-the-round in my opinion. The audience surrounds the actors in their audition paying attention to every angle, like an actor in a real audition. A fishbowl effect, per say.

Again, just my opinion — just like every other post in this thread. I don't need you to agree with me.

I think it'd be beautiful.

Updated On: 5/10/16 at 09:05 AM