THE NOTEBOOK Opening Night Critics’ Reviews — Page 3

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.

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.

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

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?

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.

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.

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?

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).

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

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.

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

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

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.