THE NOTEBOOK Opening Night Critics’ Reviews- Page 3

[EDSOSLO858]

Posted: 3/14/24 at 11:45pm

HenryTDobson said: "I'm surprised by these reviews, much more negative than I expected. This season is crazy - what's winning best musical?!?!"

My heart still says Days of Wine and Roses at the moment.  

[Auggie27]

Posted: 3/15/24 at 12:03am

I thought Bridges of Madison County, the fairest comparison for general source genre, was critic proof - it at least had a ravishing score and two glorious stars - and it failed miserably. Maybe this is more the escape for these dark times. 

[Dylan Smith4]

Posted: 3/15/24 at 12:03am

I honestly thought this was the front runner for best musical. But not after these reviews. it makes me wonder if Wine and Roses is still a likely contender even though it’s closing prematurely. let’s be real here guys. The Tonys, this year are going to be dominated by the revivals. They’re just so much better than the original shows that are coming in. Granted, we still have The Outsiders and we’re still waiting on Water For Elephants to open so we shall see. 

[EDSOSLO858]

Posted: 3/15/24 at 12:29am

If eligible for best orchestrations, Cabaret is going to break both Kiss Me, Kate's nomination record for a revival and South Pacific's win record. And who knows, their record could be broken next year by Sunset Boulevard!

Updated On: 3/15/24 at 12:29 AM

[lopside]

Posted: 3/15/24 at 1:21am

I guess the out of town reviews really do no give much of a hint of how sonething will received once it lands

 

[UWS10023]

Posted: 3/15/24 at 3:10am

Jordan Catalano said: "I don’t think even awful reviews will hurt this show."

Sad but true. I don’t think it will have a long life however.

 

[bear88]

Posted: 3/15/24 at 3:45am

The big question for The Notebook is whether these tepid reviews will be irrelevant to the musical’s target audience or whether they may reflect the show’s word of mouth.

It’s a new musical in a crowded spring season without stars. Will people who loved the movie flock to the stage show? Will they like it?

[MemorableUserName]

Posted: 3/15/24 at 4:22am

I believe Jordan is correct. For those convinced the bad reviews are going to be the death of this show:

BWW's Calculation of the Average Critics' Rating is currently: 54.7%

The Rotten Tomatoes average of the critics' reviews for the movie: 54% (The audience average: 85%)

The Metacritic average of the critics' reviews for the movie: 53 (Average user score: 8.4 out of 10)

 

I haven't read the book, but everyone I know who has said it was terrible. It's beloved. (It has a 4.15 rating on Goodreads, where the top reviews are all scathing.)

The movie evidently isn't that great, by the standards of Serious Cinema. It's beloved.

If this material has managed to stay afloat through two flawed incarnations so far, it seems premature to write off the musical. What critics have to say about the material hasn't matched the audiences' responses before now; why would it start here? For me the key is the line from Variety's review: "it will take more than recreating that iconic rainstorm to win over other theatergoers looking for more than clichés, tropes and triggers."

Sure. But why on earth would those theatergoers be going to The Notebook of all things?

Updated On: 3/15/24 at 04:22 AM

[BETTY22]

Posted: 3/15/24 at 9:14am

I'm not sure reviews make a big difference anymore, especially for shows that are already brands based on huge movies or old pop songs.

What does count however, is what these reviews are reflecting - which is that the musical isn't as good as the film or the book. It's hard to get people to pay $200 when they can stream the movie for free - and have a much better time.

I'm expect this show will fizzle out after 6 months. Too bad. We really needed a bit hit new musical this season. 

[MemorableUserName]

Posted: 3/15/24 at 10:58am

TimeOut is three stars/recommended.

https://www.timeout.com/newyork/theater/the-notebook-broadway-musical-review

"It feels like Brunstetter has pruned everything she can to make room for Michaelson’s songs, but the tradeoff is not always worth it. The music is better suited to mood than action; it’s pretty, but in a general way, and it fades into itself. And when the score does reach for emotional character moments, the lyrics often let it down. Tyson belts out the show’s catchy takeaway tune, “If This Is Love,” with gusto, but it’s hard to sound like you’re discovering fresh feelings when you’re stuck with “Butterflies that fly in me / That never seem to go away” or “Knots in my stomach / The kind that never heal.” (Do any knots heal?) Woods sings wonderfully in her big second-act decision number, “What Happens”—ecstatically lit by Ben Stanton—but you wish she were sharing something less banal than “Only I can choose my choice.”

And yet: As much as I rolled my eyes at The Notebook, I can’t deny that they sometimes welled up. In this version, it’s the older Noah and Allie—whom Brunstetter draws with the most care, free from the fetters of plot, and around whom Michaelson writes her most touching music—who get to you. Plunkett’s truthfulness pierces through the sentimentality, and there’s something elemental in the combination of love and loss that this pair embodies. As Younger Noah says of Allie’s painting: “It’s sadness and it’s joy, right?” At its best, The Notebook finds a way to deliver both, if only in shorthand."

[ErmengardeStopSniveling]

Posted: 3/15/24 at 11:06am

lopside said: "I guess the out of town reviews really do no give much of a hint of howsonething will received once it lands"

Of course not. There's one or two relevant, trusted critics per town if you're lucky. A consensus one place does not equal a consensus somewhere else, and critics may also be a little gentler to a show out-of-town compared to Broadway.

Or, as the saying goes, nobody knows anything. You could think you have the next Evan Hansen when in actuality you have the next Amelie.

[Jordan Catalano]

Posted: 3/15/24 at 11:13am

I still hope Audrey Brisson can bring the new version of “Amelie” to NYC. That show went from being one of the worst to one of the best. 

[ACL2006]

Posted: 3/15/24 at 11:46am

Dom P said: "MemorableUserName said: "Green in NYT is negative

‘The Notebook’ Review: A Musical Tear-Jerker or Just All Wet?

The 2004 weepie comes to Broadway with songs by Ingrid Michaelson and a $5 box of tissues.

https://www.nytimes.com/2024/03/14/theater/the-notebook-review-broadway-musical.html"

Ouch!"

So, this is done by the Tonys?

[TaffyDavenport]

Posted: 3/15/24 at 11:49am

ACL2006 said: "Dom P said: "MemorableUserName said: "Green in NYT is negative

‘The Notebook’ Review: A Musical Tear-Jerker or Just All Wet?

The 2004 weepie comes to Broadway with songs by Ingrid Michaelson and a $5 box of tissues.

https://www.nytimes.com/2024/03/14/theater/the-notebook-review-broadway-musical.html"

Ouch!"

So, this is done by the Tonys?"

No.

 

[chrishuyen]

Posted: 3/15/24 at 11:55am

It's been a while since critics' reviews have been able to tank a show as immediately, especially when online response is more positive (otherwise Back to the Future would've already been closed).  So while the reviews aren't great, I could still see this running through the summer (especially since it has a built in fanbase for the movie/book and Ingrid Michaelson).

[Dancingthrulife2]

Posted: 3/15/24 at 12:03pm

ErmengardeStopSniveling said: "Maryann Plunkett is getting some of the best reviews of any actress in a musical this season. Meanwhile, the show itself is getting some of the worst."

As expected. But Maryann Plunkett sells the ticket for me.

[TaffyDavenport]

Posted: 3/15/24 at 12:05pm

In my opinion, one thing this show has going for it is a great finale. The last 10 minutes are easily the best part, and it's good for business if you can send people out of the theatre on an emotional high.

Updated On: 3/15/24 at 12:05 PM

[OhHiii]

Posted: 3/15/24 at 12:07pm

ErmengardeStopSniveling said: "Maryann Plunkett is getting some of the best reviews of any actress in a musical this season. Meanwhile, the show itself is getting some of the worst."

She's getting deservedly fantastic notices, but it's also literally the only show that's opened other than Merrily that has an actress in a prominent leading(ish) role? So...yeah?

As for the show overall (and within the context of knowing the producers have been behind such gems as Mrs. Doubtfire and Devil Wears Prada), it just goes to show chasing a dollar delivering a lowest common denominator product does not pay off. McCollum also produced Wine & Roses this season, so I won't write him off completely, but the track record as of lates is somethin.

[Falsettolands]

Posted: 3/15/24 at 12:09pm

I feel comfortable saying that Maryann is the closest thing we have to a “lock” this awards season. Awards bait role, review, and a late-career star turn…we’ve got our Featured Actress, folks.

[Jordan Catalano]

Posted: 3/15/24 at 12:12pm

Falsettolands said: "I feel comfortable saying that Maryann is the closest thing we have to a “lock” this awards season. Awards bait role, review, and a late-career star turn…we’ve got our Featured Actress, folks."

Kelli is also a lock. I can’t see any reality where she isn’t nominated. 

[ErmengardeStopSniveling]

Posted: 3/15/24 at 12:20pm

OhHiii said: "ErmengardeStopSniveling said: "Maryann Plunkett is getting some of the best reviews of any actress in a musical this season. Meanwhile, the show itself is getting some of the worst."

She's getting deservedly fantastic notices, but it's also literally the only show that's opened other than Merrily that has an actress in a prominent leading(ish) role? So...yeah?

Once Upon, Wine & Roses, Ohio. But your point is fair –– it's been a largely male-dominated season so far.


As for the show overall (and within the context of knowing the producers have been behind such gems as Mrs. Doubtfire and Devil Wears Prada), it just goes to show chasing a dollar delivering a lowest common denominator product does not pay off. McCollum also produced Wine & Roses this season, so I won't write him off completely, but the track record as of lates is somethin."

His track record is certainly erratic.

Post-split from Jeffrey Seller he's had a few hits (Six, Play That Goes Wrong, Something Rotten, Motown) and flops (Days of Wine & Roses, Doubtfire, Hand To God, the return of Motown, some sort of stake in Last Ship). Plus some unknowns (Notebook, Oh Mary, Devil Wears Prada).

Meanwhile, Seller has cleaned up on Hamilton and Sweeney (plus collecting some producer-for-hire checks for TV) but also had Cher Show, Black No More, Last Ship, and some questionable business ventures like the Hamilton Exhibition (and possibly the Drama Bookshop depending on how its finances are).

Updated On: 3/15/24 at 12:20 PM

[Falsettolands]

Posted: 3/15/24 at 12:21pm

Jordan Catalano said: "Falsettolands said: "I feel comfortable saying that Maryann is the closest thing we have to a “lock” this awards season. Awards bait role, review, and a late-career star turn…we’ve got our Featured Actress, folks."

Kelli is also a lock. I can’t see any reality where she isn’t nominated."

I’m not seeing the show until next week…do you think they’ll put Maryann in Featured or Lead? Unsure about how they’d strategize with such a weak year

 

[MemorableUserName]

Posted: 3/15/24 at 12:23pm

OhHiii said: "As for the show overall (and within the context of knowing the producers have been behind such gems as Mrs. Doubtfire and Devil Wears Prada), it just goes to show chasing a dollar delivering a lowest common denominator product does not pay off."

This is nonsense. If they only wanted to chase a dollar and deliver "a lowest common denominator product" they would have just slapped the book/movie onstage with some songs (yes, a la Doubtfire, or even Mean Girls). But they didn't. They attempted to reconceive it as a theatrical piece. They hired a respected and popular folk songwriter to write the score, not some random person who could have been hired for cheap, relying solely on the name of the property to sell it. Those choices may not have worked (and I certainly didn't love this show), but there's no indication this was a phoned-in production by people not bothering with more than a "lowest common denominator" product. Actually, a straight adaptation for the  "lowest common denominator" likely would have done better with the audience members who've been complaining about the casting and the changes, if not the critics.

Updated On: 3/15/24 at 12:23 PM

[MemorableUserName]

Posted: 3/15/24 at 12:31pm

chrishuyen said: "It's been a while since critics' reviews have been able to tank a show as immediately, especially when online response is more positive (otherwise Back to the Future would've already been closed). So while the reviews aren't great, I could still see this running through the summer (especially since it has a built in fanbase for the movie/book and Ingrid Michaelson)."

Yep, I was going to mention Back to the Future. Another show that did well out of New York and the Broadway critics disliked when it arrived here (its BWW average score of 56 is almost identical to The Notebook's 55), but is still going 8 months later. Both have Show-Score ratings of 90. Neither may be great as works of art, but both have name recognition, and BTTF has spectacle and Notebook has emotion, which may be enough for plenty of audience members to keep them running. 

[EDSOSLO858]

Posted: 3/15/24 at 12:49pm

I’ll say it again: I hope this lasts long enough for Michael Potts and Carolee Carmello (or even Victoria Clark) to play the older couple.