Sondheim and Ives' HERE WE ARE at The Shed- Page 49

[Robbie2]

Posted: 10/20/23 at 9:34pm

Act 1 Finale

[Robbie2]

Posted: 10/20/23 at 9:36pm

[macnyc]

Posted: 10/21/23 at 11:30am

Saw the show last night from GG203 (on the side). Wonderful view. Would not hesitate to sit there again.

Everyone was in, including Denis O'Hare. He got the biggest laughs of the evening.

I think I spotted Charles Isherwood going in.

I am puzzled by people saying that a song was added at the end. I listened hard but didn't hear any singing. I believe there was underscoring.

For anyone thinking of waiting to see this on Broadway, I would suggest catching it now at the Shed. It's a show that plays well in an intimate venue. I personally like the Shed because it has elevators/escalators, adequate rest rooms, and stadium seating. Also, the bar area in the lobby is very nice and handy for a pre-show drink or snack.

I am still processing what I saw, but I don't think the audience would be there for this on Broadway.

SPOILER QUESTION for those who have seen it: 

 

Click Here To Toggle Spoiler Content

At the end, Marianne (Rachel Bay Jones) says that she did remember finally was it was that she had to do that day. Instead of telling anyone, she said she just did it. I am wondering, what would it have been? I think she said previously it was something important. What was it? Hugging a bear? Talking about life and death with a bishop? LOL

 

Updated On: 10/21/23 at 11:30 AM

[TotallyEffed]

Posted: 10/21/23 at 12:24pm

I can't wait to go back and read everyone's comments so far, but let me just say that I am absolutely OBSESSED with this show and was blown away by it. Impeccable casting, direction, and design. The book are score are fantastic and so full of surprises. It's hilarious, moving, and thrilling. I was in heaven. I felt like I was witnessing something very, very special. Don't even think about missing this one.

 

I need the album NOW.

[bear88]

Posted: 10/21/23 at 6:46pm

My main takeaway is feeling a bit of envy for those of you who live near New York City and can try to find a ticket to see it again. The things that have bothered some of you (no full score with songs in Act 2, for example) didn't faze me at all when I saw it Tuesday night. I knew that was coming but I didn't really think about it while watching the show - aside from feeling deeply affected when Rachel Bay Jones' final song - the last proper song in a Sondheim musical - ends on such a lovely note.

Here We Are isn't a perfect show and it's not for everyone. But it's often very funny, between Sondheim's lyrics, David Ives'  dialogue, and the performances of the cast. I think it's probably better to have seen the Luis Bunuel films on which the show is based first, although the downside is that those movies include spoilers. One difference, and it's an important one, is that the show has an underlying sweetness in the second act that snuck up on me. I agree that the key scene is the one between Jones and David Hyde Pierce as the bishop - as well as its follow-up. Those two actors, and Dennis O'Hare in a variety of roles, have the best parts in the show. All three of them, and especially Jones and Pierce, are stand-outs in a strong cast.

The direction, by Joe Mantello, and scenic and costume design, by David Zinn, really enhance the production. Sondheim's score and lyrics reminded me often of his other songs at times without being derivative. Often, it was the structure - the deliberate undermining of Michaela Diamond and Jin Ha's pretty duet with dialogue and barbed humor. Ives, I thought, did a wonderful job melding the plotlines of the two films while adding his own spin - an interesting and often surprising mix of the silly and the sublime. 

As I have asked the question of others before seeing the show, I think most people are probably better off seeing the show in the front-facing seats as opposed to being on the sides, as my wife and I were. But there are some great consolations to being on the sides, especially if you're close to the front-facing seats (101 and 102), because you're so close to the stage and there are many times when the actors are speaking or singing directly at you. The Griffin Theater at The Shed is a nice venue to see a show, and there's really no particular reason for Here We Are to transfer except to give more people a chance to see it.

Updated On: 10/22/23 at 06:46 PM

[binau]

Posted: 10/22/23 at 2:52am

The other thing about Rachel Bay Jones I realise is that she is very, very skilled at doing the whole sincere/vacant one-liners and line readings - it sounds simple but I actually think this is so hard to do. Without this, I think the whole character might come across as a bit flat/boring if they can't quite get the tone right - or I could imagine a director taking the character in a completely different direction with these lines (e.g. imagine Patti LuPone's Joanne reading things like "How awful", "I've cried in many restaurants", "my sister, the socialist", "what in the world was that", "it's so aggressively un-middle class" etc.). I mean, it would be hilarious and I'd pay to see it - but it would not be the same sympathetic character and likely contradict the score/intentions. And Claudia is already a character of that tone anyway. 
 

Also, the way RBJ says "of course" when the Bishop asks if he can hold her shoe is so sweet and non-judgemental. I guess I am now convinced that RBJ is indeed the 'heart and soul' of this show. 

Updated On: 10/22/23 at 02:52 AM

[Jordan Catalano]

Posted: 10/22/23 at 8:02am

I saw this for the fourth time last night and I’m truly just in love with it. I’m on a flight right now and was bored so I went back and reread a lot of this thread and it’s fascinating to see that after the first preview I appeared to just “like” Ives’ book whereas after seeing it so much, I now think his book is exceptional. Repeat viewings have also done something really interesting which is that I don’t view this as “incomplete” anymore. Yes there will always be sections that would (I’m positive) benefit from more songs, what Ives did by writing that one little thing of the piano dying explains everything and the piece seems like a true collaboration between the two writers which I find endlessly fascinating, hilarious, touching and brilliant, actually. 

 

It’s been pointed out multiple times how Rachel Bay Jones is the “heart” of this show but I feel it can’t be said enough. Watching her interact with DHP in front of the fire will no doubt go down as one of the best scenes I’ll ever had the privilege to see. I don’t see this being a financial success on Broadway and I have no info on if that has ever or will ever be in the works but I want it to just so she wins a second Tony for it. 

[PianoMann]

Posted: 10/22/23 at 12:52pm

I saw this past Wednesday matinee and have been thinking about it ever since. I left the performance with the impression that this is a great show, but it has been growing on me more and more ever since. As with every Sondheim score, it would benefit from repeat viewings and listenings to the future cast recording to catch all of his marvelous wordplay. But even on first blush, his lyrics come across as witty and sharp as ever. The first act is incredibly brisk. The Man and the Woman's songs – and especially Fritz and the Soldier's duet – are absolute highlights. Put me in the camp that thinks the second act and the piece overall does not feel incomplete at all; whether that's the effect of good expectation-setting from Ives and Mantello or not, I'm not sure, but between the interludes and underscoring in the second act and the in-universe rationale for not singing, it all worked for me. I didn't mind the lack of reprise at the end of the show because the underscoring does so much of the work of bringing us back to the "normal" world, as it were. The final moment itself is very exciting, too, and a nice note on which to end.

I think Ives did a terrific job of marrying these two films into one story and set of characters. He and Sondheim have a wonderful creative rapport in the first act, especially as they weave song and book together so frequently, e.g., in the road segments. I did feel like the second act could have been shortened a little bit, but even now I think the length – which is not that long to begin with – and the tiny feeling of tedium is actually essential to emulating the feeling of the characters for the audience, much like it's indispensable to Long Day's Journey into Night. The cast is uniformly excellent, but I agree Jones is the standout and Marianne the most important character. I was incredibly (and unexpectedly) moved by one of her final moments in the show, which is as much a testament to her performance as it is Ives' book. Kudos to everyone involved in this production, from top to bottom. The sets are really incredible and smart, the orchestrations full and lovely, the costumes and lighting sharp, etc.

Everyone involved does Sondheim incredibly proud. Most of all, I walked away marveling at what Sondheim was working on up to 89, 90, and 91 years of age. Definitely the greatest who ever worked in modern musical theatre.

[MezzA101]

Posted: 10/22/23 at 12:59pm

The impression I have is that all posters here commenting on HWA are Sondheim fans. In terms of the future for this remarkable production, does anyone have feedback from Sondheim newbies? 

 

Thank you.

[Jordan Catalano]

Posted: 10/22/23 at 1:36pm

I’m also fascinated by what the future holds for this show. I’ve said already I’d put money on a London premiere sooner rather than later but I think like “The Frogs” this is one that won’t be done too frequently.

[TotallyEffed]

Posted: 10/22/23 at 1:58pm

As with many Sondheim shows, I can say without a doubt we will never see a finer production of this show than this original one playing at The Shed. It is so fantastic and I can’t imagine any future production becoming definitive over this one. 

[Call_me_jorge]

Posted: 10/22/23 at 7:51pm

Is there any truth to the rumor that they’re planning on taking this out of town after the shed run? The rumor was it would play a non-profit in either LA or Chicago; Crossing my fingers it would be for Chicago. 

[jbm2]

Posted: 10/23/23 at 11:52am

What is the running time? 

[ljay889]

Posted: 10/24/23 at 10:06am

Diamond confirms Bernadette DID read for Marianne in the reading. I knew it. 
https://www.vogue.com/article/here-we-are-micaela-diamond-interview?fbclid=PAAaYNDIygV-Hh8-BH89F9NJSEefTYSq1Jmd7_qkx2F7wgmRQluUPblBzzVnI_aem_AcrRCf6zchtg6lw-sKFxlVuM1lk9MbzjAE-pdb1YsYWdnRDcoDLxidRLLb7Hn97wW3s

[signorafosca2]

Posted: 10/24/23 at 10:49am

Jordan Catalano said: "I’m also fascinated by what the future holds for this show. I’ve said already I’d put money on a London premiere sooner rather than later but I think like “The Frogs” this is one that won’t be done too frequently."

I’m inclined to agree with one caveat: this is a show that a group of actors in a university or community theatre could make an absolute meal out of. The Frogs not so much. I could see this one having a life of its own more akin to Assassins than The Frogs.

[JasonC3]

Posted: 10/24/23 at 11:21am

I'll be interested to how effective they are at moving last-minute sales.  Show is sold out tonight, but about 100 seats available for the matinee tomorrow and around 70 for the Wednesday evening performance. Lowballing an average asking ticket price of $250 that's $25,000 and $17,500 respectively waiting to be sold

[Dancingthrulife2]

Posted: 10/24/23 at 11:31am

JasonC3 said: "I'll be interested to how effective they are at moving last-minute sales. Show is sold out tonight, but about 100 seats available for the matinee tomorrow and around 70 for the Wednesday evening performance. Lowballing an average asking ticket price of $250 that's $25,000 and $17,500 respectively waiting to be sold"

I'd argue that sometimes not selling tickets at a lower price to retain the premium for performances that would actually be able to sell out could return a net gain than simply trying to get the seats filled. It's about balancing the spreadsheet so you get the best results possible.

[JasonC3]

Posted: 10/24/23 at 11:51am

Dancingthrulife2 said: "I'd argue that sometimes not selling tickets at a lower price to retain the premium for performances that would actually be able to sell out could return a net gain than simply trying to get the seats filled. It's about balancing the spreadsheet so you get the best results possible."

I don't disagree with this at all. In other threads I've mentioned the marketing power of price anchoring.  I'm just curious as to what approach the producers here might use over time, as well as how future ticket sales unfold now that reviews are out.

 

[binau]

Posted: 10/24/23 at 3:07pm

JasonC3 I am curious too, especially because I don't really know how discounting off-broadway works, what last minutes sales are typically like, and whether this is on TKTS etc.

Looking at the advance seats I don't necessarily think they need to discount every show, but it does indeed look like there are some shows (e.g. tomorrow matinee) that could use a boost. 

I'd also just hope that there are some discounted for prime seats at least occasionally so that more people can see it. This feels like one of (if not the?) most expensive off-broadway show ever. I suspect there are loads of people who would be curious about the show but just don't want to pay what they are asking. 

[inception]

Posted: 10/24/23 at 3:33pm

Just checked TodayTix and going further ahead there are still plenty of dates with the cheaper tickets available - both the $87 bar stools and $139 side seats.

Of course those used to be basic prices for all seats to an off-Bwy show

[binau]

Posted: 10/25/23 at 3:25am

It looks like most of the free seats for the matinee today are already gone. That is unexpected. Either comped or maybe there is a population of people who are buying last minute. 

Updated On: 10/25/23 at 03:25 AM

[Browneyes142]

Posted: 10/25/23 at 5:34am

TodayTix is doing a lottery and $40 rush tickets. Could it be that they are just doing lots more rush tickets on a low selling day?

[idioteque...]

Posted: 10/25/23 at 3:49pm

What kind of seats are they giving out for rush or lottery? Gonna try around Dec time.

[henrikegerman]

Posted: 10/26/23 at 7:53am

Act 1 is a delightful surprise, hilarious, beautiful to look at, charming, spirited, fresh and fun.  It is a great free adaptation fully in the spirit of Discreet Charm.

In Act 2 not only is Buñuel's subtle atmospheric tone in Exterminating Angel barely recognizable, but, though there are some lovely scenelets (Bay Jones and Hyde Pierce have a quet, funny, lyrical and poignant moment together), the show too often gets bogged down in the tritest most cliché strewn been-there seen-that way too many times tropes of class conflict. This is all the sadder because Ives's first act writing is first rate.

As for the Sondheim in the Sondheim, the score is charming and the lyrics as endearing as they are spot surreal.  The sets are brilliant throughout.  The cast could not be better.  Though odd that Tracie Bennett, so damn good in act 1, has practically zilch in Act 2. Her counterpart, Dennis O'Hare, is equally brilliant in Act 1 and troops on valiantly from there but his character suffers the most from Act 2's flaws.  

Updated On: 10/26/23 at 07:53 AM

[bwayphreak234]

Posted: 10/26/23 at 9:20am

idioteque... said: "What kind of seats are they giving out for rush or lottery? Gonna try around Dec time."

Every time I've attempted rush and gotten through, it has been for seats on the extreme far sides of the two side sections. I never ended up purchasing (released the seats for others to snag up), so I can't comment on the view, but it doesn't sound like ideal viewing for this one. Someone who has seen the show please correct me if I'm wrong. The good news is they tell you the seat locations before you confirm the purchase.

I'm going next weekend and looking forward to finally seeing this!