Saw it last night as well. After the first act, I saw Wolfe pass by and told him we enjoyed the first act immensely. He thanked me and than went about his business.
The first act was a blast. The second act dragged because it showed what happened to all concerned after the euphoria of putting on a show. Billy Porter brought down the house with his rendition of "Low Down Blues".Audra had a solo as well but I do not recall the title and could not check the Playbill as the songs were not listed as someone else posted.The creative team needs to be able to get at least 20 minutes out of the 3 hour running time.
This will be a smash but will suffer for a few months with Audra's absence. It should be classified as a new musical which unfortunately means no Best Musical Tony for it in June. It would get one in any other year but bad luck for them and all the other musicals opening this season with 1 exception. It could try to get classified as a revival but I do not think it should qualify there. It will garner a lot of other Tony's for individual achievements in numerous other categories.
I also felt that Mitchell's number when he blackens only half his face was a good idea that didn't work that well in context. It evoked all sorts of potentially interesting relationships, the Janus masks of tragedy and comedy, the character's refined, real self vs. the falsified stereotype he portrayed on stage, etc. However, even as I was watching it, it caused my mind to wander back to the more memorable and effective Solomon Song done by Kevin Kline in the Wolfe-directed Mother Courage. Assuming my memory is correct (it may not be), both numbers appear late in the show, both involve the applying of make-up, both are delivered bitterly and ironically, and both even feature similar angular hand and arm movements.
One big difference is that, prior to the point where the song appears, the book for Shuffle Along has been superficial and cliched. There's an attempt to evoke deep feeling in regard to characters and situations that are barely sketched, and to hang weighty meaning on an exceptionally slight frame.
I found the l use of blackface here as compared to the use of blackface in LaChiusa's Wild Party- another Wolfe-led 1920s musical that explores some similar themes- to be surprisingly superficial.
"...everyone finally shut up, and the audience could enjoy the beginning of the Anatevka Pogram in peace."
It's a great song, now largely forgotten, and one of the reasons I'm so eager to hear McDonald sing it is the wide, expressive arc of the melody suits an operatic voice just gorgeously. There used to be go wonderful old LP by Joan Morris and William Bolcom called "Wild About Eubie" that showed this off to good effect.
Eons ago, the revue Eubie was released on RCA Video Disc which I had. Once RCA abruptly dumped the format I gave away the discs I had to someone. I never saw the show ever released again. Maybe there will be renewed interest in it now. We shall see. I actually saw Eubie on stage with Blake which , I believe, played the Ambassador theater.
At the end, Lyles mentioned films he was in when he was older. I was aware of them when I was involved with my Theater Historical Society but was not aware it was him who played in them.
I was referring to the video but thanks for this info. For those interested, no merchandise was being sold. I am quite sure this will be rectified soon.
By the way, the 63 rd St theater was torn down in 1957
I have not gotten to see Wolfe's other work, and this is in fact the first time I have seen Blackface employed live, so perhaps that is part of why I found Mitchell's solo more provocative and heartbreaking than Kad and Tom. I agree that it could build to something clearer, and something just, well, MORE--as I remember, it is quite brief. Noting the half-blackface as evocative of the Janus masks is an interesting observation.
Can not see the sense of assembling all this talent and after getting rave reviews closing up shop 6 months later. Kind of hard to recoup or even turn a profit if they fold their tent after 6 months.
Final curtain at today's matinee came down at 4:50. Single company bow no individual bows. Loved it - don't know if there is anything to cut - when your in such good company time is not an issue. But I am sure these pros will hone it down. Any word on whether they used the week off to make adjustments not yet put in?
Theatreguy12, I saw the April 1 preview and I have to say I had a similar reaction... completely bemused at some of the posts written earlier on this chain! Of course, it is Wolfe’s process to use previews to hone his productions considerably—anyone who is familiar with his work should have come into early previews expecting a production in process (albeit a brilliant one).
By my estimate, the show ran very smoothly, with excellent pacing—the four-day hiatus seems to have put to good use. There is a shocking amount of star power between the five principals, but inevitably of course, Audra and Stokes stole the show: the former for her flawless dance and comic timing, the latter for his showstopper of a number in the second act. I left very pleased, and feeling that the company is ready for opening night.
If I didn't live in LA I would be there to see it again. I really liked it when I saw it on the 26th, and if they have made modifications, cuts, whatever to "improve" on it, it must be quite a spectacle. Because it looked pretty darned good when I saw it pre-hiatus. Personally, I can't even imagine how you would make it better from the show I saw, or how anyone could not like it.
Thanks for sharing.
Now I can't wait for the window card to come out, as it wasn't available when I saw it.
This might be insane - or just wishful thinking - but Tonya Pinkins was at Shuffle Along the first time I saw it. Is there any way she'd replace Audra on her leave?
I know Tonya has a different voice than Audra and her relationship with Mr. Wolfe and Mr. Glover might be the simple reason she was there (or any other reason), but could she work as a replacement?