Sondheim and Ives' HERE WE ARE at The Shed — Page 36

Unbelievably excited to be going tonight ❤️❤️❤️

I’ve seen and really enjoyed the movie Exterminating Angel. Found it very eerie in its absurdity.

Is it pretty faithful to the movie in Act Two would you say or is it more inspired by the plot?

This certainly sounds strange and different. I am so excited to see this. I'm mad at myself for not thinking to go earlier in the run. I bought my ticket for late October.

Robbie2 said: "wish i were here2 said: "Intermission

THIS SHOW IS BONKERS!!! I am so intrigued where it will go in Act 2.

Hey - Spoiler! ^^^^^^^^"



Sorry, about that! Posted using my phone and idk why the spoiler part didn't work

The first thing you notice walking in is the design. For a Sondheim show and especially off-broadway it feels much more elaborately staged than I was expecting, and some of the set changes (especially the second act) are dramatically important. I couldn't help but feel the whole show is physically ready to open on Broadway and as written does feel like a complete piece of work. Not saying it should, but it feels ready to me. It's not a kind of black box off-Broadway show solely focusing on the characters and music at all.

I am impressed at the characters, actors and book. In particular, some real standout moments from Micaela Diamond, Jin Ha, Rachel Bay Jones, and Steven Pasquale. Micaela Diamond especially made a lasting impression on me as I think she has some of the best dramatic and musical moments.

Tracie Bennett and especially Dennis O'Hare almost steal with the show with their comical relief playing all different kinds of weird funny characters in the background. As does David Hyde pierce with his small but impactful turn as a Priest/Bishop The tone is quite interesting - I would say when it's working best, the show is a dark comedy. I don't really know what the show is about yet (I'm still trying to think!), but there is this certain grim subtext about the whole evening and these characters where something doesn't feel quite right about them. It gets especially dark in the second act. I couldn't help but feel the theme of mortality coming through and wondered of course if the show might reflect some of Sondheim's anxieties in old age - but that might be overeading especially because Ives wrote the book not Sondheim.

In terms of the music, I really need to hear it again but if I was to give my honest opinion - it's not Sondheim's best. There are kind of glimmers of brilliance peppered throughout. For example, Micaela Diamond has a lot of interesting and intense Act One music I am dying to hear again - and with Jin Ha performs what will be the last melodic love song Sondheim has ever written. Tracie Bennett has a dark act one solo that I need to hear again desperately, Denis O'Hare has a strong comedic moment where he gets to sing a lot of comical rhymes typical of Sondheim. David Hyde Pierce has a funny song lamenting that he needs someone to give him work. However, overall I just don't hear the magic. I'm sorry to say but I think the ink well really did run dry, and what we are left with is a curious and worthy attempt but not something that I think people will enjoy much outside die-hard Sondheim fans.

"Funny crossed with Road Show" is an apt description of what the score feels like. With an occasional hint of Passion at times. It's funny how people criticise Road Show, but in hindsight there's probably more magic and craft in the Road Show score than this score. That said, I STILL think "Here We Are" would more likely appeal to a wider audience than Road Show, lol.

The one other thing I'll say is that what Sondheim HAS done yet again, is not repeated himself (at least at a show-level rather than thinking about specific songs). The show is unlike anything he has ever done before, or any other show really. If Anyone Can Whistle felt like it was written by rebellious students at the back of the class taking the piss, then Here We Are feels like it was written by rebellious faculty at the front of the class trying to challenge the students (us) and 'give us more to see'. It may not always work, but we have been given more to see. And that is exciting!

binau said: "The first thing you notice walking in is the design. For a Sondheim show and especially off-broadway it feels much more elaborately staged than I was expecting, and some of the set changes (especially the second act) are dramatically important. I couldn't help but feel the whole show is physically ready to open on Broadway and as written does feel like a complete piece of work. Not saying it should, but it feels ready to me. It's not a kind of black box off-Broadway show solely focusing on the characters and music at all.

I am impressed at the characters, actors and book. In particular, some real standout moments from Micaela Diamond, Jin Ha, Rachel Bay Jones, and Steven Pasquale. Micaela Diamond especially made a lasting impression on me as I think she has some of the best dramatic and musical moments.

Tracie Bennett and especially Dennis O'Hare almost steal with the show with their comical relief playing all different kinds of weird funny characters in the background. As does David Hyde pierce with his small but impactful turn as a Priest/Bishop The tone is quite interesting - I would say when it's working best, the show is a dark comedy. I don't really know what the show is about yet (I'm still trying to think!), but there is this certain grim subtext about the whole evening and these characters where something doesn't feel quite right about them. It gets especially dark in the second act. I couldn't help but feel the theme of mortality coming through and wondered of course if the show might reflect some of Sondheim's anxieties in old age - but that might be overeading especially because Ives wrote the book not Sondheim.

In terms of the music, I really need to hear it again but if I was to give my honest opinion - it's not Sondheim's best. There are kind of glimmers of brilliance peppered throughout. For example, Micaela Diamond has a lot of interesting and intense Act One music I am dying to hear again - and with Jin Ha performs what will be the last melodic love song Sondheim has ever written. Tracie Bennett has a dark act one solo that I need to hear again desperately, Denis O'Hare has a strong comedic moment where he gets to sing a lot of comical rhymes typical of Sondheim. David Hyde Pierce has a funny song lamenting that he needs someone to give him work. However, overall I just don't hear the magic. I'm sorry to say but I think the ink well really did run dry, and what we are left with is a curious and worthy attempt but not something that I think people will enjoy much outside die-hard Sondheim fans.

"Funny crossed with Road Show" is an apt description of what the score feels like. With an occasional hint of Passion at times. It's funny how people criticise Road Show, but in hindsight there's probably more magic and craft in the Road Show score than this score. That said, I STILL think "Here We Are" would more likely appeal to a wider audience than Road Show, lol.

The one other thing I'll say is that what Sondheim HAS done yet again, is not repeated himself (at least at a show-level rather than thinking about specific songs). The show is unlike anything he has ever done before, or any other show really. If Anyone Can Whistle felt like it was written by rebellious students at the back of the class taking the piss, then Here We Are feels like it was written by rebellious faculty at the front of the class trying to challenge the students (us) and 'give us more to see'. It may not always work, but we have been given more to see. And that is exciting!"

Wow! So for an eventual Broadway transfer which theater could you see this going into?

Let's start with the great. This thread started six months ago amid much speculation and fears as to what would be presented. The show last night was wonderfully produced, directed, acted, sung, designed, scored, sounded, lighted, costumed choreographed, and staged. You would never guess it was just the first preview of an unfinished show still in need of work. The audience was well-behaved and played their part, reciprocating the love for Sondheim on stage.

Mr. Sondheim loved puzzles and left us this one that's hard to crack. Watching last night you understand the difficulty of writing for the people stuck in the room who really don't change. Some may say they do, I'm not convinced by the writing. After "It's Hot Up Here," what's left for the people stuck in Seurat's painting to sing except a reprise of "Sunday?"

At times the book writing is excellent. Other times, lots of dead space. The biggest problem is the ending. As the show is winding down, and it takes its time, you are of course wondering how do they get out, if they even do. Answering that question with book or song is fine. I'm not going to say how it ends but I could deal with all the surreal moments until then but it sure felt like a nothing Huh? moment. If anyone would care to post a Spoiler Alert on the last few minutes I would appreciate it.

The show is not done in the round and there's some magnificent staging lost to those sitting on the sides.

I'll be going back after the opening. Sure glad I was there last night.

Updated On: 9/29/23 at 10:03 AM

Now that I've had some time to think about what we saw last night, I'm sharing my thoughts:

Act One

• The music is somewhere between Sunday and Passion (especially a certain duet). It's also reminiscent of Anyone Can Whistle in the first few songs (chirpy flutes and woodwinds). The songs are "plucky" and always tinkering with modifications and form. The Dream Duet and the A La Mode numbers were particular highlights for me, but I can see Dennis O'Hare's number getting a lot of love. Many songs are intercut with book scenes and flip back and forth until the songs take over and crescendo and end with a button. Very curious to see how these will be edited on a cast recording (especially now without Sondheim's input).
• Sondheim's intellect never expired, and his new lyrics especially show that he never stopped engaging with the world or culture. There's references that truly surprised me (electric car brands, etc.). I also think there's a lot revealed about his final review of human life in these songs.
• The set is expensive, sleek, and ultra modern. It's one of the best sets I've had the pleasure of seeing live.
• The direction is so engaging. There's so much to look at and I can see value in repeat viewings to see what different people are doing during big numbers.
• It's a VERY funny act.
• The orchestrations are full and LUSH. No complaints whatsoever. There's a few moments where the sound just "hits you like a train"

Act Two

• It's the other side of the coin and almost everything that act one isn't, act two is. There's beauty in that, for better or worse.
• Despite the act taking place in one location, there's no dearth of visual entertainment. Exceptional set piece that really surprises you. (Was that a reference to Anyone Can Whistle?)

The Cast

• Superb, every one of them. Not a single weak link.
• Tracy Bennett and Dennis O'Hare are really put to work in act one and, boy, do they shine.
• Rachel Bay Jones and Bobby Cannavale are, no doubt in my mind, the roles that Peters and Lane played in the reading. The show is for the better that they went with this cast. This show really needs a cast that's believably middle age for this current moment in time.

Updated On: 9/29/23 at 10:05 AM

Seat AA 20 from A View From My Seat:

Seeing it on the 13th - can't wait!

How is Amber Gray (is she Claudia?)/does she have a song/any significant musical moments?

Given the cast and the production values being described, it sounds like we're getting our money's worth. I'm particularly excited to see Denis O'Hare on stage as I have not caught him in a show for a very long time.

StylishCynic said:

"Reeds (4)
Trumpet
Horn
Percussion
Keyboards
Violin
Viola
Cello
Bass"

Many thanks to you and Jordan for your quick answers regarding the orchestra! This is definitely a luxurious orchestra for an off-Broadway show, and in Tunick's hands I'm sure it sounds gorgeous.

I heard lots of "Passion" as well. Didn't see any celebrities or members of the creative team.

Did anyone?

Thanks.