Sondheim and Ives' HERE WE ARE at The Shed- Page 38

[rattleNwoolypenguin]

Posted: 9/29/23 at 4:03pm

The divisive with audiences Sondheim second act. Classic.

 

[trentsketch]

Posted: 9/29/23 at 4:28pm

I've not seen the stageshow, but I have done extensive research on the films. I don't think watching either film will help you understand what's happening in the show (or the films for that matter). The films are absurdist fantasies with a dark sense of humor. 

[TaffyDavenport]

Posted: 9/29/23 at 4:36pm

[EricMontreal22]

Posted: 9/29/23 at 4:48pm

jacobsnchz14 said: "
So to those who saw it... would we consider this a concept musical with a score akin to Forum/Passion/Road Show? !"
I find that comment funny because... there aren't many similarities between those three scores, but I suppose that says it all.

I'm so so glad to be able to read all of these posts--it was worth coming back to BWW for   And of course I hate you all who get to see it.

This is a big ask, but could someone point out how these characters/actors relate to the main roles in the movies?

 

 

[Robbie2]

Posted: 9/29/23 at 4:48pm

ColorTheHours048 said: "ErmengardeStopSniveling said: "I don't see this for a few weeks, but I would love to know what people who don't know the backstory thinks of the show. Casual theatergoers & not inherently Sondheim fans. There's so much speculation here about this moving to Broadway this season, but if they want any chance of commercial success it will have to transcend the Sondheim diehards (a finite and unsustainable audience base)."

I think the best we can hope for, as far as a transfer goes, is something akin to Days of Wine and Roses. A strictly limited engagement to boost awards eligibility and future life of the show, but not necessarily a commercial run. The audience for this is limited, and will absolutely not appeal to the masses."

 

I asked my agent friend with talent in the show and he said the focus is on the off broadway production at the Shed and a Broadway transfer has not been discussed as of yet

[TNick926]

Posted: 9/29/23 at 4:52pm

trentsketch said: "I've not seen the stageshow, but I have done extensive research on the films. I don't think watching either film will help you understand what's happening in the show (or the films for that matter). The films are absurdist fantasies with a dark sense of humor."

Not having seen the stage show, how could you possibly say that you don't think watching either film will help someone understand what's happening in the show?  Your point seems to be that if something is an absurdist fantasy with a dark sense of humor that it cannot be "understood"?

[EricMontreal22]

Posted: 9/29/23 at 4:53pm

MezzA101 said: "What was the story with "Bounce? Was there talk of a transfer? Did reviews play a role? They will matter a lot with this show. Anyone try to get a non-Sondheim fanatic interested in going? What was the pitch and reaction?"

The bad reviews for Bounce definitely played a part in it not immediately moving forward after Chicago and DC.  I think the creative team, too, realized they hadn't cracked it (and I'm someone who liked a LOT about Bounce that was removed for Road Show--especially some of Hal Prince's montage sequences which for Road Show became rather obvious bits of dialogue.) 

But I think it was just a totally different situation (for obvious and maybe less obvious reasons)

I suspect there's enough of an audience for this to have some sort of limited run on Broadway (or elsewhere) as others have suggested.  I also think (partly for selfish reasons) doing a taping and cinema showing would make a lot of sense.

 

[StylishCynic]

Posted: 9/29/23 at 5:15pm

The songs aren’t outlined in the program. It’s always a fun exercise to consider what the titles might be. Here’s my best guess:

 

Click Here To Toggle Spoiler Content

Act One

A Perfect Day - Ensemble

Toast I - Ensemble

I Am So Sorry - Man

Road Sequence I - Ensemble

It Is What It Is - Woman

Road Sequence II - Ensemble 

Toast II - Ensemble

The Dream, or The End of The World - Soldier and Fritz

Road Sequence III - Ensemble

All I Want is a Job, or I’m a Terrible Priest - Bishop

A Perfect Day (Reprise) - Ensemble 

 

Act Two

Eden, or Here We Are, or In This Room - Ensemble

The End of the World (Reprise) - Soldier and Fritz

Poof, or Remember This - Marianne

“Take Your Places” (Finale) - Ensemble

 

[Someone in a Tree2]

Posted: 9/29/23 at 5:22pm

^ You're hypothetical song list indicates there's a lot more singing in Act II than the previous posters' comments all suggested.

[Jordan Catalano]

Posted: 9/29/23 at 5:38pm

There IS singing in act two, for about the first 10 - 15 minutes or so and then maybe a tiny bit after. This is where you really feel how the show wasn’t finished. 

Updated On: 9/29/23 at 05:38 PM

[StylishCynic]

Posted: 9/29/23 at 5:52pm

Ann Harada was in attendance, I believe, as well as some nyc about town personalities.
 

I was underwhelmed by the crowd, and I now imagine that the artistic collaborators of the Sondheim Estate and industry friends attended the dress rehearsal. 

[ljay889]

Posted: 9/29/23 at 5:54pm

[ljay889]

Posted: 9/29/23 at 5:58pm

Yeah, it had to be 10-15 minutes tops. I was dreading for the singing to end but it was very clear when it would end, which is obviously when the characters realized they are trapped. I am just glad the rumors of NO singing act two were false. Now they just really need to find a way to end the show with a reprise of a “Perfect Day.” 

StylishCynic, that song list feels quite accurate. 

[elephantseye]

Posted: 9/29/23 at 6:01pm

StylishCynic said: "Ann Harada was in attendance, I believe, as well as some nyc about town personalities."

Yes, she was— was standing behind her in that bananas line for the escalator. 

[StylishCynic]

Posted: 9/29/23 at 6:12pm

Oh! I just remembered that there’s a “moment” in act one that’s both a wink at and a perfect bookend to a famously divisive decision in Anyone Can Whistle. 
 

This, coupled with the second possible reference to Whistle in act two, makes me wonder if Sondheim warmed up to Whistle in his later years. 

[EricMontreal22]

Posted: 9/29/23 at 7:03pm

StylishCynic said: "Ann Harada was in attendance, I believe, as well as some nyc about town personalities.


I was underwhelmed by the crowd, and I now imagine that the artistic collaborators of the Sondheim Estate and industry friends attended the dress rehearsal."

Isn't it more likely the actual opening will have more recognizable faces?

 

[StylishCynic]

Posted: 9/29/23 at 7:07pm

EricMontreal22 said: "StylishCynic said: "Ann Harada was in attendance, I believe, as well as some nyc about town personalities.


I was underwhelmed by the crowd, and I now imagine that the artistic collaborators of the Sondheim Estate and industry friends attended the dress rehearsal."

Isn't it more likely the actual opening will have more recognizable faces?

"

Without a doubt! I thought that the fact that almost no one has heard this and the strict NDA’s would draw out a glitzier crowd for a first preview. 

[EricMontreal22]

Posted: 9/29/23 at 7:08pm

StylishCynic said: "Oh! I just remembered that there’s a “moment” in act one that’s both a wink at and a perfect bookend to a famously divisive decision in Anyone Can Whistle.


This, coupled with the second possible reference to Whistle in act two, makes me wonder if Sondheim warmed up to Whistle in his later years."

I'm gonna guess this has to do with the part in the movie where they realize an audience is watching them perform? 

But Sondheim certainly did seem to warm to Whistle (was he ever not thoughtfully warm about the experience--unlike say how he felt about Do I Hear a Waltz.)  The stories of how thrilled and excited he was while they were recording the complete album (which started recording way back in the late 90s) are wonderful.

[bruzson]

Posted: 9/29/23 at 8:00pm

For those of you who have seen the show, which title do you now think is better?  Here We Are or Square One?  We don't see it til Oct 6 but sight unseen I still like Square One better.

[Bill Snibson]

Posted: 9/29/23 at 8:11pm

How was The Shed? Not a single mention of sound issues which is a major plus. Such a cool/adaptable space. 

Also, not everything needs a bdwy transfer. Sounds to me like this could do well with an extension but not necessarily a full blown transfer. This is a show that caters to the Sondheim purists as well as the NY’ers who want to be able to tell their friends that they saw it, but beyond that it feels like a very tough sell.

[ljay889]

Posted: 9/29/23 at 8:17pm

bruzson said: "For those of you who have seen the show, which title do you now think is better? Here We Are or Square One? We don't see it til Oct 6 but sight unseen I still like Square One better."

 

Click Here To Toggle Spoiler Content

For the amount of times “being back at square one” Is mentioned in the show, I think it would be too obvious as a title. To me, it also sounds too much like an old fashioned musical comedy, which this show isn’t. 

“Here We Are” is a better representation of the ensemble nature of the show, and the group’s endless journey. 

 

 

[Robbie2]

Posted: 9/29/23 at 10:45pm

Curtain call

https://www.youtube.com/watch?v=Vdl_nrsxzb0

 

Updated On: 9/29/23 at 10:45 PM

[bekk99]

Posted: 9/29/23 at 11:29pm

I thought it was wonderful! I wouldn’t say Act II feels unfinished; I noticed 4-5 spots that would have been elevated by songs. 

Not a weak link in the cast. Pierce, Jones, O’Hare, and Diamond were my MVPs. I would generally say Battiste felt underused, as well as Bennett in Act II.

The production looks and sounds sublime. Surprisingly, I found the bits of choreo quite charming.

Our lottery seats were BB Center; obviously great but maybe two rows too close. On the check in sheet I glimpsed at will call, there appeared to be 13 lottery seats tonight. 

In terms of notable audience members, I saw Richard Kind, Larry Owens, and Tom Kirdahy.

[Georgeanddot2]

Posted: 9/29/23 at 11:40pm

Dying to hear some of this score. I wish the production would release SOMETHING.

[Balcony2]

Posted: 9/30/23 at 1:18am

It was overwhelming to actually be in the Shed tonight, experiencing this show. I’ll be sorting it out for days.  The two acts are completely in contrast but are complementary. A diptych. Sets and staging are stunning. The most perfect venue! Cast is superb. 

My immediate reaction to the songs is that Sondheim had indeed developed a late style notable for its concentration, tartness, refinement, and lightness. It’s interesting to compare Sondheim with other great composers who pared down their style after a “heavier” earlier period. A sort of sophisticated simplification with no loss in potency.  

Meanwhile in this show there are fleeting musical echos  from all over the Sondheim canon: a certain song from Company, vamps from Sunday,  harmonies from Into the Woods, 

There is a subtle, breathtaking, tearjerking line given to the David Hyde Pierce character in Act II while seated at the piano which respectfully makes reference to Sondheim, one of the greatest artists of all time.