Mock them all you like, but this is a very personal labor of love by those who knew and loved this rabbi (his daughters, I believe, are involved). He truly was a bit of a legend and a game-changer.
His was an interesting life but it's a badly-written show, and they refuse to change much of it, being too close to the man himself, perhaps. I happened to see it in its early stages in NYC downtown, and yet another version in New Orleans. I also saw it at Circle in the Square, where it had an amazing cast, but had not otherwise improved.
I will not be seeing this latest version, but I don't get all the mean-spiritedness about it. Just don't go see it. All this schadenfreude is like kicking a puppy that's been run over already twice.
ghostlight, For me the frustration stems from what you describe. There is such great source material here, and the daughters/creators just refuse to make any sort of REAL changes to improve the piece. That deserves scorn and derision in my eyes.
What's that definition of insanity? You keep doing the same thing and expect different results? That's exactly what they're doing with this show. Remounting the same poorly-written junk in a new venue and expecting a different response from audience members/ticket buyers. After NYTW, New Orleans, Broadway (and I believe it started at NYMF) it's time to either do a major revision or throw in the towel.
Marie: Don't be in such a hurry about that pretty little chippy in Frisco.
Tony: Eh, she's a no chip!
"There is such great source material here, and the daughters/creators just refuse to make any sort of REAL changes to improve the piece. That deserves scorn and derision in my eyes. "
What are you talking about? Adam has told us that they cut a half hour from the show during previews. That's not a real enough change for you to stave off your scorn and derision? And how do you know there won't be further changes still in its new venue? Perhaps you should go see it there before bandying about words such as "insanity." Or perhaps you should refrain from bandying about such words entirely.
Here's what I just heard from a friend attached to the production. They cut the cast down to 15. It's been cut to 90min with no intermission. It's equity and the odd schedule has to do with Jewish holy days since it's now going into a temple.
Show focuses more on Shlomo's journey and cuts out all the extra stories.
The production is totally redesigned with new designers and director but same producers. It is immersive rather then presentational, so it's all around the audience. They are cleaning up the space and taking over the temple.
Sounds like it has potential of being a very different experience.
I'm looking forward to seeing Soul Doctor again. I also have a friend in the cast, and I think the shorter running time could be an improvement. Unlike some others, though, I didn't hate it at all the first time around.
I enjoyed it the first time around. Not enough to want to go back alone during a regular time slot, but enough to not mind the idea of going back if either a friend wanted someone to go with them or if it fit into time slots that otherwise wouldn't be available for doing much else (e.g. sat. 5pm between a matinee and evening show, when there wouldn't be enough time to go to a museum or anything else, really). Not sure if their schedule includes unusual slots like that or just skips some common ones like friday night in favor of less common ones like sunday night, but if it has any odd times i would go to see it again, probably.
I saw this tonight without having seen any previous stagings and thought it was quite enjoyable.
The venue looked to hold about 150 and I would say it was slightly over half full. Based on attire and the conversations going on, the vast majority of the audience were Jewish - and a lot of people knew one another, so it may have been an organised event. Running time was about 100 minutes, starting slightly late and without an intermission.
The hall itself is very different to a traditional theatre, with some interesting touches, like queuing for sharing the bathroom facilities with the performers. Don't get there too early as there's not much else to do other than wait.
The show was energetically performed, with an interesting story that made sense to someone unfamiliar with Shlomo Carlebach. To my untrained ear, there wasn't a lot of variation in the type of music, mostly ballads, but they worked well. The highlight was an excellent rendition of "I Put A Spell On You" from Dan'yelle Williamson. I read somewhere that there would be audience interaction, but thankfully that didn't happen, other than some clapping.
I can't imagine this being a show I'd see twice, but the length seemed about right for the subject matter.