TEETH Previews - New World Stages — Page 3
#52
Posted: 12/9/24 at 9:08pm
ErmengardeStopSniveling said: "I'm surprised they're aiming to continue through to the existing closing date (January 19). It doesn't appear to be selling at all and there are comps galore.
They just moved up the closing to January 5
#53
Posted: 12/9/24 at 9:13pm
Feels like this show lost all momentum after it transferred to NWS...the type of thing where it might have continued selling out if it could have continued uninterrupted at Playwrights Horizons, instead of a commercial transfer.
#54
Posted: 12/10/24 at 4:28am
How is this compared to its PH run?
#55
==> this board is a nest of vipers <==
"Michael Riedel...The Perez Hilton of the New York Theatre scene"
- Craig Hepworth, What's On Stage
Posted: 12/10/24 at 7:37am
We loved this. Andy Karl is just a fantastic performer and he leads this cast like their daddy.
"Michael Riedel...The Perez Hilton of the New York Theatre scene"
- Craig Hepworth, What's On Stage
#56
Posted: 12/10/24 at 8:25am
Much bloodier, penises dropping from the ceiling, and a few song changes. I was hoping for a longer run.
#57
Posted: 12/10/24 at 8:58am
maybe they were hoping for a broadway run after off-broadway? Obviously that's not gonna happen.
I liked the NWS transfer and the changes they made.
ErmengardeStopSniveling said: "Feels like this show lost all momentum after it transferred to NWS...the type of thing where it might have continued selling out if it could have continued uninterrupted at Playwrights Horizons, instead of a commercial transfer."
#58
Posted: 12/10/24 at 9:43am
This one…wasn’t for me. Huge horror fan, but the creative team never really clicked with the material for me.
#59
Posted: 12/10/24 at 9:54am
yyys said: "maybe they were hoping for a broadway run after off-broadway? Obviously that's not gonna happen.
I liked the NWS transfer and the changes they made.
ErmengardeStopSniveling said: "Feels like this show lost all momentum after it transferred to NWS...the type of thing where it might have continued selling out if it could have continued uninterrupted at Playwrights Horizons, instead of a commercial transfer."
"
As far as I was told, the goal never actually was Broadway because, not only the questionable commercial viability for a large house was an issue, but also theatre owners would not permit many of the new planned features for the show (namely the additional blood).
They figured off-Broadway was a viable option, but I personally think the momentum got lost over the summer. I’m still going on closing because I am indeed a diehard fan.
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#60
Posted: 12/11/24 at 5:42am
Teeth is a show going for it, and I definitely don't mean character development.
It's genuinely really funny, and on a visceral level works. On the other hand, I don't think the show has anything coherent to say and there was no depth to interpersonal relationships.
Regarding the splash zone, the first 4 rows got ponchos. I had an aisle seat in row C and didn't get a drop of fake blood on me, which was slightly disappointing. If you're already wearing a poncho, you want the full experience.
#61
Posted: 12/11/24 at 7:57am
Jonathan Cohen said: "Teeth is a show going for it, and I definitely don't mean character development.
It's genuinely really funny, and on a visceral level works. On the other hand, I don't thinkthe show has anything coherent to say and therewas no depth to interpersonal relationships.
Regarding the splash zone, the first 4rows got ponchos. I had an aisle seat in row C and didn't get a drop of fake blood on me, which was slightly disappointing. If you're already wearing a poncho, you want the full experience."
I haven't seen TEETH yet but for me, coherence has been lacking a bit in Jackson's other efforts. I wonder if that just isn't important to him or if he needs creative partners to help him find or hone it.
#62
Posted: 12/11/24 at 11:18pm
JasonC3 said: "I haven't seen TEETH yet but for me, coherence has been lacking a bit in Jackson's other efforts. I wonder if that just isn't important to him or if he needs creative partners to help him find or hone it."
In theory, working with a creative partner could make Jackson's work more coherent. However, Anna K. Jacobs cowrote the book and wrote the music for Teeth. It's sounds like Teeth was a 50/50 collaboration and it's tonally very similar to White Girl in Danger, which was all Jackson.
They both build to a fever dream vibe where characters are increasingly abstract ideas. A Strange Loop, which is unquestionably his best work, is more grounded but in the context of it being a 1 and 40 minute hallucination.
Jackson is a huge talent but when he's not doing something autobiographical, he doesn't seem that interested in creating coherent characters.
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