THE NOTEBOOK Broadway Previews — Page 4

Ugh, sounds perfectly average.

Alex Kulak2 said: "I wonder why Greif felt the need to have a co-director at all. The guy's easily one of the most commercially and artistically successful directors working in the theatre today, who said during the development of this show that he couldn't handle it on his own?"

My assumption has always been that it's an optics matter of wanting a Black woman in a key creative role, considering the way they've intentionally cast the show. Greif was attached first, but she's been involved for years (prior to knowing precisely when any of this stuff would land on Broadway), so this wasn't a matter of scheduling. If it was a scheduling matter, a good associate would be sufficient.

Updated On: 2/14/24 at 07:42 PM

Keep in mind also that NOTEBOOK and WINE & ROSES have the same producer (Greif's RENT collaborator, Kevin McCollum), so it was always understood that he'd have a busy dance card.

I don't find it irresponsible, per say, but I hope he gets a good long vacation afterwards to decompress.

People attach themselves to multiple shows with regularity, and the development process takes so long that there's no telling when –– or if –– these things actually make it to Broadway.

Agree, but I just don't feel that all 3 were meant to happen this close back-to-back I guess is what I am trying to say.

As someone else said, it's just sorta average.

Music is average - songs sound very much alike.

The love story between the older people is the most affecting.

A big problem for me was that I didn't understand why the young-uns were attracted to each other. Not much chemistry there.

And what about the casting? Wild!

Updated On: 2/15/24 at 11:30 PM

Interesting to see so many tepid reviews on here. I found this to be pretty damn wonderful. I don’t remember the last time I saw a show where I loved every single song, but Ingrid Michaelson’s score is an absolute gold mine as far as I’m concerned.

When this show was announced years ago, I rolled my eyes. I don’t like Nicholas Sparks’ novels or writing, and I thought the movie was just okay. I wasn’t sure how this could be made into a stage show without being hooky and overly sentimental. Michael Greif and Schele Williams’ direction is very strong, and the production moves along at a quick pace without ever hitting any lulls. The structuring of the events in the story is clever and effective.

I didn’t think the set was too dark or dank at all. It’s BEAUTIFULLY lit by some of the most stunning lighting I’ve seen on Broadway in recent memory.

The cast is glorious. All three versions of Noah and Allie get their chance(s) to shine. There was an understudy on for Older Allie, and she was great. The vocals are gorgeous, and the orchestra sounds very stylized and lush.

All in all, I was very impressed and taken with this one. It’s certainly better than most of this season’s new musical offerings thus far. I hope the rest of the new spring musicals are as good as this!

Updated On: 2/16/24 at 07:52 AM

nativenewyorker2 said: "The person that steals the show in my opinion Is Carson Stewart as the young male millennial nurse"

Yeah...he's a standout.

I just feel no one gets good material except for the 2 older roles. And that casting!!!

Call_me_jorge said: "Skip23 said: "nativenewyorker2 said: "Ijust feel no one gets good material except for the 2 older roles. And that casting!!!


Can you elaborate on your thoughts on the casting?


Uh…pure magic? Unexpected? Odd?
"

"

I went this afternoon and I'm mixed. Was I tearing up through the last two numbers? Absolutely. But it took me a while to warm up to it. My issue is that the show felt oddly inert for a love story that spans decades. The core of my problem is that the story and characters, especially younger and middle Noah, are very broadly drawn and the other elements of the show didn't deliver enough for me to feel truly satisfied. The songs, while well sung, blended together down to the orchestrations sounding similar from number to number. It wasn't the lyrics that nagged at me as much; it's more that most of the songs dealt with similar, general sentiments about love without enough differentiation. They were nice, but didn't propel the plot all that much or offer a deep enough peek into the characters to feel indispensable. I wasn't sold on it as a theatre score, yet I'm looking forward to listening to the cast album once it's released. The songs were gorgeous to listen to and I think they'll grow on me outside the context of the show, when I'm not listening with the same demands. For me, if a show, on the page, is going to go for a more generic story and feature characters who are more sketches/types than fully fleshed-out characters (as written anyway), I'll want the score, the acting choices, or something to get me absorbed in the piece, and The Notebook didn't draw me in and make me feel as much as I wanted to. I wish there was more warmth to the production. I also agree with what other posters have said about there being too many moments staged with characters sitting down near the front of the stage. I was decently close in the side orchestra and found myself peeking around other people's heads to see. So that issue extends beyond the mezz.

I know all that may make it sound like I didn't like the show. I did. I just didn't love it, and I'm not sure I could since my hang-ups with the show are pretty fundamental. Joy Woods and Happy McPartlin, on for Maryann Plunkett, were the cast standouts for me. While I was initially sorry to miss Plunkett after reading positive reports on her, McPartlin gave a moving performance and broke my heart. She was excellent and I was very happy (ha) with her. And Joy Woods is such a star. The guy in front of me turned to the woman he was with after her solo in the second act and just said "wow," and I fully agreed. Her acting brought a level of specificity to her part that elevated what was on the page, and what a voice. She's really one to watch and is giving a Tony nom-worthy performance.

The fact that they sell branded mini tissue boxes at the merch booth is genius. But what was even more brilliant was having the

because it encourages curtain call levels of appreciation before the show has ended, and it's a stunning moment all around. I suspect this will do well given how rapturous the audience was around me. Lots of bravos, cheers, and sniffles, and people (in my section at least) were on their feet before the final number ended. It may not have moved me as much I wanted it to, but I'm delighted that the show's getting such a response and I'm rooting for it.

PipingHotPiccolo said: "Maryann Plunkett was out (again? has she missed many of these previews?)"

She didn't perform at all last week.

HunterK said: "Fosse76 said: "PipingHotPiccolo said: "Maryann Plunkett was out (again? has she missed many of these previews?)"

She didn't perform at all last week."

Unfortunately, Ms. Plunkett had an upper respiratory infection last Tuesday and got worse. She is doing better should be back very soon.
make never missed one performance in Chicago and if this didn’t happen, I doubt she would have missed until her vacation. Wishing her well!"

I actually attended a performance that Mary Ernster went on as older Allie, so Maryann Plunkett definitely missed at least one performance in Chicago.

PipingHotPiccolo said: "im a cynic who has never read the notebook, seen the notebook, or would ever have thought to read/watch either. romance for the sake of romance bores me. i should not have liked this.

but i couldnt help it. the score is pretty mundane but its always gorgeous to listen to, and oh my the people singing it. i imagine many watch this knowing the whole story and are excited to see it all unfold, but i did not really know much other than Ryan Gosling kisses Rachel McAdams in the rain. so act 1 was solid because it was unclear to me how these love stories intersect etc. and while yes its weepy and saccharine sweet, the book is sharp/funny enough (Andrea Burns, perfect in every little line delivery, and Carson Stewart is learning from her nicely) to keep our eyerolls at bay. i was genuinely invested by intermission, much to my shock.

for the Notebook fans, i guess act 2 is just as riveting as they watch what they know to happen unfold, but i honestly can summarize act 2 in one sentence plotwise. it felt a bit long, while at the same time it felt too short- anticlimactic is the wrong word, because i cant even really tell you what happened to bring the Middles back together before we get to that tragic, sappy end. If the first act turned a sappy love story into something more interesting, act 2 didnt bother to try and relies entirely on everyone weeping in their seats. which they were. (i have never EVER experienced this much sniffling, and outright bawling, at a show, as i did in the last 20 minutes of this, and im including disease/Holocaust/tragedy driven works. i was seated near a high school group and there were multiple teenagers crying like they were at a close friends funeral. like 15 yr old guys and girls simply weeping uncontrollably). still for me the abruptness of the ending was jarring.

Maryann Plunkett was out (again? has she missed many of these previews?) but her understudy Happy Mcpartlinwas great and heartbreaking as required. Dorian Harewood was incredible and anchors the whole show in a grueling role quite beautifully. John Cardoza sings so wonderfully and gives such an earnest, seductive performance that it sorta undermines Ryan Vasquez, whose role is comparatively underwritten and whose take is comparatively less appealing. Jordan Tyson is making an insane debut, and I don't have the words to describe Joy Woods, though it occurs to me that this is now the third show I've seen where she sings the hell out of a tricky score and sweeps an entire audience off its feet--and its nice that shes finally getting to do it in a big house.

(re that big house: i love the schoenfeld, and the front mezz (Row D, left) was a fine view--though when the bed scenes are upstage, the set does block it a bit. i wonder if they reblocked at all because i did not find much of the action to be on the lip of the stage at all.

for me this was a really well done production of a pretty dull story that isnt for me, but the audience response was beyond enthusiastic, and i cant remember the last time i saw such a passionate spontaneous standing ovation for the show long before the final curtain. if this gets the right reviews, i can see this taking off given what i am sure will be the right kind of word of mouth for the right kind of ticket buying demographic.

So what you’re telling me is that it’s probably going to be a hit (especially now that I have glanced at the box office numbers) and I’m probably destined to see it if I end up in New York City within the next year. And that the audience will annoy me to no end.

Is Maryann back in the show? Does she do the 7pm Monday night performance?