Shuffle Along previews — Page 25

Saw this Saturday matinee. Really a phenominal cast, but a dry story unfortunatley. It seemed alomost like a documentary. I appreciate learning about theatre history about which I was unfamiliar. Exceptional theatre must do more than tell a story. It has to connect with the audience. We may not relate exactly to the characters, but the theme must be universal (the "outsider" in Kinky Boots or Billy Elliot, the "struggler" in A Chorus Line, etc.).

Like most performers, those in the original Shuffle Along continued their careers with some ups and downs. The show was historically significant. And then life went on for those involved. I guess I wanted to connect to a stronger message.

But there are lots of goodies in this story. Billy Porter's act 2 solo, Audra McDonald's dancing and comedy, the entire tap dancing ensemble, Brian Mitchell's narration including (SPOILER) the line, "What makes Broadway are the ticket prices."

Wanted to LOVE this, but just didn't quite get there for me. Glad I saw it. And I like the no late seating policy.

Saw this tonight and loved it. Sure there are problems, but it was a story I did not know and the talent and dancing is so joyful. I'd recommend not sitting in the first 4-5 rows. That stage is high and extended. Lots of folks in the first few rows who paid premium or "mid-premium" (new price point) were complaining. Sold out house so no where to move them. Some went and stood in back.

Brooks was the weakest in my opinion. He's so hammy and queeny with his characters I felt he pulled focus.

Audra is brilliant in this and the show is built around her. No idea how they will replace her. She's one of a kind.

Updated On: 4/12/16 at 12:50 AM

Saw this tonight as well, and I second Bettyboy's statement about the first five rows. The choreography is such an integral part of the experience you want to be further back to get the whole picture. The Music Box is small for a show of this scale, you won't miss anything at all by sitting upstairs.

That said, I found more to admire than to enjoy. Audra and Brandon Victor Dixon fare best because they are given actual scenes. Their relationship is beautifully played, with room to breathe. The songs within their scenes grow naturally from the situations, and you care about what happens to them through the evening. That is in contrast to most of the story-telling contained in the show--because most of the rest of the story-telling feels like a lecture. A lecture accompanied by world-class tap-dancing to distract you from the amount of information you are being fed about people you do not meet, situations you do not see, and stories that are never dramatized. Because so much is being TOLD to you by the actors, the show keeps the audience at arm's length throughout, and it is only through the sheer talent of the performers themselves that we are occasionally allowed to feel anything.

Individual numbers in Act One were uniformly terrific, and if they had been interrupted less by Ken Burns-style factoids, they would have landed even better. The first 20 minutes of Act Two were thrilling for me beyond anything that Act One offered. One dazzling moment after another, coupled with narrative thrust, even as the various relationships felt the strain of the success of the "Shuffle Along" phenomenon they had created (against all odds) in Act One. Then come a series of catharsis numbers, preceded by quite a few scenes that devolved into people yelling at one another because of real or imagined slights. Billy Porter lands his number with the soul-twisting. agonized vocals that he does so well, and Audra--well, Audra just breaks your heart with "Memories of You". The half in black-face number that Stokes is given works better in theory than in action. It's a lot of effort attempting to flesh out an idea that is said perfectly in the first image of the number: he walks onto the stage for what has always been a two-man act, and on the other side of the stage is a spotlight with no one in it. The number is him trying hard to fill both spotlights, full well knowing it's a lost cause. Try as he might, there's just not that much to play, and we start to feel the desperation of the performer rather than the character. The audience response to this number was the most tepid of the night.

The penultimate number with Brooks as the critic telling them all they will become footnotes in history suffers from the same problem--once he's said it, there's nothing left to do but say it louder while the principals protest their fate and try to make their case. It's potent and it's right, but it has nowhere to go, so it outlives its usefulness.

While there is much to enjoy because of the generous and amazing talent assembled, I was seldom moved or involved. A show shouldn't tell me so many times how important its story is. Just show me more. Lecture me less.

Glad to read these comments about the seating. I usually like orchestra for a more intimate experience, but I have tickets in the second row mezzanine center in a few weeks. Sounds like that was the correct decision for this one!

mtcond said: "Saw this tonight as well, and I second Bettyboy's statement about the first five rows. The choreography is such an integral part of the experience you want to be further back to get the whole picture. The Music Box is small for a show of this scale, you won't miss anything at all by sitting upstairs. "

While I don't necessarily disagree re: the high stage and not being able to see feet from the front, I would say that I sat in the front row and enjoyed it tremendously.

I think it is a trade-off, there is a definite intensity and emotional connection being up front, and you can still appreciate the choreography. But - you can't see their feet if that is critical to you :)

Even if you sit in the last 3 rows of the mezz, the show and CHOREO look fantastic. Imho, mezzanine is waay better than orch for this show. Bring binocs for some scenes.

Just saw this show tonight and agree with the others that sitting in center mezz is so much better than orchestra.

I was moved for most of the show but in act II I did feel the story just never seem to end... I agree with the other poster who stated it was more like a documentary and who wished it had a stronger message.

"Interestingly, there was no song list in the program, but there was a program insert that was sepia-colored and titled, "63rd Street Music Hall", with original photos of the cast (from 1921). "



They've been including that all along.

For those wondering about Audra and if she does the stage door

https://twitter.com/AudraEqualityMc/status/719851960699109376

I saw the show last night and was blown away. I know they're still working on it, but never did I find myself disengaged or at all bored. The 3 hours flew by for me and I can't wait to see it again in 2 weeks. THIS is the show to see right now.

Luv2goToShows said: "What is the latest on the Playbill? Did they go back to the original ones?"



Yes. That was talked about here in the thread.

Thanks uncaged & bunnie3 I'll be seeing the show in a few weeks so I'll get one then. I