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

The divisive with audiences Sondheim second act. Classic.

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

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.

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

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.

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.

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 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.

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.

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."

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.

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.