Looking at the audition list, my assumption is that David Hyde Pierce is playing Leo - who seems like the male lead to the extent there is one. He’s the right age for it, and the role also doesn’t call for a powerhouse singer.
I could easily be wrong, of course, and don’t pretend to have the slightest idea. Perhaps he’s Bishop. But David Hyde Pierce is the biggest ‘name’ in the show for non-Broadway people, and he did win a Tony Award.
Has anyone been to a show at The Shed? I’d love to catch this on a Sunday but would have a 5:15 pm train so would need to carry in a backpack as we’ll be in town for two nights.
Robbie516 said: "Don’t you think Bobby Cannavale is a bigger name than David Hyde Pierce?"
I think it varies based on someone's age and interests, but it would be true for many. He certainly has done more work—and higher profile work—in recent years.
Fair points. I was not thinking of Cannavale for Leo because that character is listed as older than Cannavale plays or looks. But it’s a new musical, so the creatives can be even more flexible than usual. The requirements for the male characters often don’t include a lot of singing, though there are exceptions.
I have no idea whether there are leads or if this is more of an ensemble piece.
Regarding the set or lack thereof, I recall that Straight Line Crazy had a nice set consisting of Robert Moses' office and working space for staff. I don't remember if other setting were shown. Although it didn't feel bare bones, it definitely wasn't elaborate.
macnyc said: "Regarding the set or lack thereof, I recall that Straight Line Crazy had a nice set consisting of Robert Moses' office and working space for staff. I don't remember if other setting were shown. Although it didn't feel bare bones, it definitely wasn't elaborate."
The conceptual, minimalist set for "Straight Line Crazy" at the Shed was essentially a recreation of the set from the original production at the Bridge Theatre in London, so I don't think it's an indication of any scenic limitations they may have at the Shed.
Has anyone seen the films that this is based on? I haven’t, but looking briefly at the trailers it does feel like this is likely going to be an ensemble show….
"You can't overrate Bernadette Peters. She is such a genius. There's a moment in "Too Many Mornings" and Bernadette doing 'I wore green the last time' - It's a voice that is just already given up - it is so sorrowful. Tragic. You can see from that moment the show is going to be headed into such dark territory and it hinges on this tiny throwaway moment of the voice." - Ben Brantley (2022)
"Bernadette's whole, stunning performance [as Rose in Gypsy] galvanized the actors capable of letting loose with her. Bernadette's Rose did take its rightful place, but too late, and unseen by too many who should have seen it" Arthur Laurents (2009)
"Sondheim's own favorite star performances? [Bernadette] Peters in ''Sunday in the Park,'' Lansbury in ''Sweeney Todd'' and ''obviously, Ethel was thrilling in 'Gypsy.'' Nytimes, 2000
Regarding any scenic design limitations of The Shed, this is the set for Norma Jeane Baker of Troy, the first production to use the space (sorry for the fuzzy pic):
TaffyDavenport said: "Regarding any scenic design limitations of The Shed, this is the set for Norma Jeane Baker of Troy, the first production to use the space (sorry for the fuzzy pic):
"
Bunuel's film -The Exterminating Angel was done as an opera at the Met - here's the interesting set.
"Anything you do, let it it come from you--then it will be new."
Sunday in the Park with George
Robbie2 said: "TaffyDavenport said: "Regarding any scenic design limitations of The Shed, this is the set for Norma Jeane Baker of Troy, the first production to use the space (sorry for the fuzzy pic):
"
Bunuel's film -The Exterminating Angel was done as an opera at the Met - here's the interesting set.
"
"Anything you do, let it it come from you--then it will be new."
Sunday in the Park with George
Robbie2 said: "Robbie2 said: "TaffyDavenport said: "Regarding any scenic design limitations of The Shed, this is the set for Norma Jeane Baker of Troy, the first production to use the space (sorry for the fuzzy pic):
"
Bunuel's film -The Exterminating Angel was done as an opera at the Met - here's the interesting set.
"
"
"Anything you do, let it it come from you--then it will be new."
Sunday in the Park with George
Robbie2 said: "Robbie2 said: "Robbie2 said: "TaffyDavenport said: "Regarding any scenic design limitations of The Shed, this is the set for Norma Jeane Baker of Troy, the first production to use the space (sorry for the fuzzy pic):
"
Bunuel's film -The Exterminating Angel was done as an opera at the Met - here's the interesting set.
"
"
"
"Anything you do, let it it come from you--then it will be new."
Sunday in the Park with George
Robbie2 said: "Robbie2 said: "Robbie2 said: "Robbie2 said: "TaffyDavenport said: "Regarding any scenic design limitations of The Shed, this is the set for Norma Jeane Baker of Troy, the first production to use the space (sorry for the fuzzy pic):
"
Bunuel's film -The Exterminating Angel was done as an opera at the Met - here's the interesting set.
"
"
"
"
"Anything you do, let it it come from you--then it will be new."
Sunday in the Park with George
binau said: "Has anyone seen the films that this is based on? I haven’t, but looking briefly at the trailers it does feel like this is likely going to be an ensemble show…."
Both films are absolutely ensemble pieces. In fact, neither film even really has a central character.
Sondheim revealed that the musical would be about “trying to find a place to have dinner. The first act would be inspired by Buñuel's The Discreet Charm of the Bourgeoisie and the second on his The Exterminating Angel - two movies set at surreal dinner parties. The first half, said Steve, deals with interruptions to dinner, the second is about “people who have dinner and can’t leave,” which “is my cheerful view of the world today.”
Sondheim revealed that the musical would be about “trying to find a place to have dinner. The first act would be inspired by Buñuel's The Discreet Charm of the Bourgeoisie and the second on his The Exterminating Angel - two movies set at surreal dinner parties. The first half, said Steve, deals with interruptions to dinner, the second is about “people who have dinner and can’t leave,” which “is my cheerful view of the world today.”
I think I have devoured every little tidbit that has been written about this show (it’s not much, just covers many years). I have the two films to watch at my leisure, and then there will be a flood of information leading up to and especially right after it starts previews.
My expectations are tempered, given the circumstances and uncertainty about so many aspects of this project, but it’s still exciting to be seeing a new Sondheim musical in New York City in less than three months.
And if it isn’t very good, I will be seeing the Merrily revival the following night.
Part of me wonders if it’s the book that is going to be make or break for this show, not Sondheim’s score. A mediocre score could still be a great show (e.g. Funny Thing). But a lousy book will sink it.
"You can't overrate Bernadette Peters. She is such a genius. There's a moment in "Too Many Mornings" and Bernadette doing 'I wore green the last time' - It's a voice that is just already given up - it is so sorrowful. Tragic. You can see from that moment the show is going to be headed into such dark territory and it hinges on this tiny throwaway moment of the voice." - Ben Brantley (2022)
"Bernadette's whole, stunning performance [as Rose in Gypsy] galvanized the actors capable of letting loose with her. Bernadette's Rose did take its rightful place, but too late, and unseen by too many who should have seen it" Arthur Laurents (2009)
"Sondheim's own favorite star performances? [Bernadette] Peters in ''Sunday in the Park,'' Lansbury in ''Sweeney Todd'' and ''obviously, Ethel was thrilling in 'Gypsy.'' Nytimes, 2000
Before, or at least around the same time, per articles written between 2014 and 2017. Sondheim commented that the comparison would make for a fascinating study, in part of the different ways opera and musical theater adapts the same material.
I have no idea how far Sondheim got with the part of the musical that adapts The Exterminating Angel, however - which would seem to be the second act based on his own description. Here We Are also doesn’t sound like a straightforward screen-to-stage adaptation, given that it apparently tries to merge two different films, however loosely.
Anyone hearing rumbles of "problems"? It seems two shows have been canceled and that, of course, has spurned rumors (from reddit): As another commenter noted, the 10/2 performance was cancelled. There is one on 10/8 that appears to have disappeared. I’ve heard rumblings on some other boards that folx close to the production have indicated…something. What that something is I can’t get at, so was hoping someone here might have insight.
If we're not having fun, then why are we doing it?
These are DISCUSSION boards, not mutual admiration boards. Discussion only occurs when we are willing to hear what others are thinking, regardless of whether it is alignment to our own thoughts.
I think if there were severe problems they would be cancelling the first preview and subsequent performances not a sporadic Monday night. I'm hoping more likely just some scheduling challenges that needed to be rethought.
"You can't overrate Bernadette Peters. She is such a genius. There's a moment in "Too Many Mornings" and Bernadette doing 'I wore green the last time' - It's a voice that is just already given up - it is so sorrowful. Tragic. You can see from that moment the show is going to be headed into such dark territory and it hinges on this tiny throwaway moment of the voice." - Ben Brantley (2022)
"Bernadette's whole, stunning performance [as Rose in Gypsy] galvanized the actors capable of letting loose with her. Bernadette's Rose did take its rightful place, but too late, and unseen by too many who should have seen it" Arthur Laurents (2009)
"Sondheim's own favorite star performances? [Bernadette] Peters in ''Sunday in the Park,'' Lansbury in ''Sweeney Todd'' and ''obviously, Ethel was thrilling in 'Gypsy.'' Nytimes, 2000
I am one of the affected folks --- initially bought seats for the Monday Oct 2nd performance, but recieved an email this week stating that the Monday shows have been re-scheduled (NOT cancelled) for newly added Sunday afternoon performances.
My exact seats were automatically moved to the new Sun Oct 15th 3pm show, and I was given the option to exchange to another date if i so choose......including earlier performances on Sept 28, 29 or 30th, that are indeed still happening as planned
The only 'issue' seems to be that they're now looking to a more typical performance schedule, where Mondays are dark.....
Thanks for the insight. I wondered if it was just a scheduling thing.
If we're not having fun, then why are we doing it?
These are DISCUSSION boards, not mutual admiration boards. Discussion only occurs when we are willing to hear what others are thinking, regardless of whether it is alignment to our own thoughts.