THE BAND's VISIT Reviews — Page 6

I don't doubt that CFA could have won the Tony for Best Musical over this show because handing out awards to that saccharine overly PC piece of sophomore garbage is exactly the kind of thing that would happen in today's political climate. I actually enjoyed CFA at the time but watching the absolute artistry of The Band's Visit is making me less warm towards that show as time goes on. The fact that they robbed War Paint of a "best score" nomination makes me so frustrated.

Anyway, back to this amazing piece of work. Somehow in 90 minutes with spare dialogue and simple songs/music they have managed to flesh out a couple of characters that absolutely feel like real, complex people. This is a feat rarely achieved in a musical in my opinion. I can't believe how effective the show is in such a short amount of time to weave several complex threads with the different characters, including a very SUBTLE look at cultural clashes that is so tastefully done it makes me want to cry (cf. CFA, which beats you over the head with that awful song "Prayer" among other parts). The score is absolutely beautiful - every moment felt like it was exploring the characters in a deeper way and the style absolutely feels like it belongs with the characters, time and setting. The instruments were just gorgeous. The set, staging, lighting were masterful. Tony S has more character development in his eyes and the way he says "no, no" than any character in CFA. As for pay off, I was getting tears in "Answer Me" when you realise that the lyrics are not just literally referring to this tiny subplot but bringing/commenting on all the subplots together thematically right before (or is it right after?) the devastating ending of seeing Dina and Tewfiq slowly moving away from each other, possibly to never see each other again.

This is the kind of show that would make me so, so proud to say I like musicals.

Updated On: 1/21/18 at 05:25 PM

Oh boy, looks like this is an unpopular opinion around here, but I REALLY did not like this. As someone with Israeli heritage, I really appreciated the accurate characterization, influenced score, and the fact that they had an Israeli dramaturg work on it. But, I still felt like it was just missing something that I can't put my finger on! It wasn't the length, and it wasn't bad acting (not even close, I particularly enjoyed Lenk's performance), I just felt like the book was so eh. Too many awkward pauses. I really expected to be mindblown, and I kept waiting for it to get better, but it didn't. I got a glimpse of that when the ensemble all sang together at the end and, being vague to avoid spoiling the moment, the very last moment before the curtain call. I feel like if you liked Once, you'd like this, and I hated Once, so there's that. I got $60 center rear mez tickets from TKTS (beware of upselling), so maybe I needed to be closer to fully experience the intimate vibe. In the end, I left scratching my head, wondering what all the raves are about.

dramamama611 said: "BroadwayConcierge said: "Heard from a friend that Tony Shalhoub is leaving indefinitely next week to film the next season of Maisel. Can anybody corroborate?"

While Ihave no info, it seems unlikely in light of nominations and voting for the Tonys. Do they film in N.Y.? He could feasibly do both if so...at least much of the time."

Yes, they film in New York. The only time I’ve actually stumbled upon something being filmed in New York was when I saw them filming a crowd scene on the Brooklyn side of the Williamsburg Bridge last year.

I was among those who questioned whether or not I would like this show. I walked away loving it. I really liken it to watching a film. I was lucky enough to be the in front row and I say without hesitation that closer is better. This musical has a lot of nuance and silence. I found it so moving. It won't appeal to many. I can see how its style would be divisive. I found it very elegant, spare and emotionally rich. Lenk is sublime. I could watch her many times and find new layers. Her and Shalhoub are poetry (I hope he is not leaving-it would hurt the show at this crucial point.)

It was great to meet the entire cast, as well as Yazbeck at Barnes and Noble last week. What a sweet group. I truly hope this takes Best Musical and Lenk gets a Tony.

Man, I really love this show but I wish the cast recording had even a few bits of dialogue to tie the thing better together. It's probably one I'd eagerly buy the book of were it made available.

Bettyboy72 said: "I was among those who questioned whether or not I would like this show. I walked away loving it. I really liken it to watching a film. I was lucky enough to be the in front row and I say without hesitation that closer is better. This musical has a lot of nuance and silence. I found it so moving. It won't appeal to many. I can see how its style would be divisive. I found it very elegant, spare and emotionally rich. Lenk is sublime. I could watch her many times and find new layers. Her and Shalhoub are poetry (I hope he is not leaving-it would hurt the show at this crucial point.)

It was great to meet the entire cast, as well as Yazbeck at Barnes and Noble last week. What a sweet group. I truly hope this takes Best Musical and Lenk gets a Tony."



I agree. I originally had a front mezzanine seat in November, but called and upgraded to a second row aisle seat center Orchestra for $20 based on advice on the message board. So glad I did. At the curtain call, I was giving my standing O with tears streaming down my face. I saw six shows on that trip, but mainly went to see DEH (which I liked a lot) before Ben left the show, but this show just blew me away in every single way. I think I’ve learned that I’m better off not knowing (or imagining) every plot point or having the cast recording (which was impossible for me as it hadn’t been released yet) memorized before I see a show the first time. Knowing too much seems to work against my enjoyment and diminishes my sense of discovery.

3GamesToLove said: "Man, I really love this show but I wish the cast recording had even a few bits of dialogue to tie the thing better together. It's probably one I'd eagerly buy the book of were it made available."

Couldn't agree more! The small bits of dialogue they cut from songs like "Waiting" would've been amazing, as glorious as I think the cast album is already.

Upinlights wrote: "maybe I needed to be closer to fully experience the intimate vibe."

It would have been the same tuneless bore wherever you sat. Be thankful you didn't waste even more of your money on a more expensive seat.

^

Miles2Go2,

La Cage Aux Folles

^



I don't know what "awful revival" you're talking about. Rest assured that both revivals were a zillion and thirty-five times more enjoyable than the likes of The Band's Visit, Fun Home, Hamilton, Book of Mormon, Sunday in the Park With George, Dear Evan Hansen, Come From Away, Groundhog Day, Once, etc.

"I’m prone to snarky thoughts if someone were to say a show like Cats is his/her favorite show of all time, "

Why? It's hardly the greatest show of all time, but it's a hell of a lot better than the likes of Fun Home, Hamilton, The Band's Visit, etc.

"but that seems different from polarized black and white thinking that dismisses 95% of plsys/musicals on the basis that they’re “bad” while asserting only the shows I like are good."



What "polarized black and white thinking" are you talking about? There are varying degrees of good and bad, as there are of liking and disliking. And shows aren't bad because I dislike them; I dislike them because they are bad; and the same goes for shows that are good.

The bottom line: write good shows and you can be sure I'll like them.