THE SOUND INSIDE Previews — Page 2

Just back from this and...wow! I'm still reeling a bit.

This is why I love theater. Everyone is at the top of their game. After Heisenberg, I didn't think Mary-Louise Parker could get any better. I was wrong, I've seen a lot of her work and this may be the best thing she has ever done.

David Cromer's direction is the best I've seen him do. Making a two-person play fit into Studio 54 and feel as intimate and riveting as this piece is, is extraordinary. I've run hot and cold with Adam Rapp, but this is my favorite thing he's written, hands down.

Will Hochman more than holds his own, which is quite something in the presence of Mary-Louise Parker.

I don't dare spoil any of this, although, I'm not sure you can. I can't wait to return.

I'm with Jordan. I can't recommend this highly enough.

Thank you everyone who recommended seeing this play. It was my first play with Mary Louise Parker and I'm blown away by her performance. I had to choose between this play, Betrayal and The Inheritance and I couldn't be any happier with my choice. I only wish the theater was smaller and I could see her face closer. I got the $35 rush ticket and the seat I got was row G in the rear mezzanine. Still, Mary Louise acting was so incredible that I even forgot for a few moments where I was and how little of the leg room I had:) I'm looking forward to see her other performance at MTC next year.

Updated On: 10/19/19 at 04:54 PM

Quick seating question: I have a lot of options for the performance I’m looking into, but trying to keep it on the cheaper side.

The entire rear mezzanine is $49/59 which is in my budget (could go for row EE for $59 which is the first row of the rear mezzanine I believe)... there’s an aisle seat in rear mezzanine row MM (to help with the leg room) through LincTix for $35... or I could try my luck with Tdf or rush as it gets closer, looking to go in the next two weeks.

Any thoughts on Rear Mezzanine seating or seating in general? All thoughts are appreciated!!!!!

Updated On: 10/29/19 at 08:01 PM

GreasedLightning said: "Quick seating question: I havea lot of options for the performance I’m looking into, but trying to keep it on the cheaper side.

The entire rear mezzanine is $49/59 which is in my budget (could go for row EE for $59 which is the first row of the rear mezzanineI believe)... there’s an aisle seat in rear mezzanine row MM (to help with the leg room) through LincTix for $35... or I could try my luck with Tdf or rush as it gets closer, looking to go in the next two weeks.

Any thoughts on Rear Mezzanine seating or seating in general? All thoughts are appreciated!!!!!"

I feel that rear mezzanine is too far for such an intimate play. I got a rush ticket in GG row and although the view of the stage wasn't obstructed, all the time I wished I could see the faces closer. It was my first time at Studio 54 and now I know that the rear mezz is high and far from the stage. EE row is probably slightly better.

Skip23 said: "Really? It felt like an outline for a play, to me.

So many questions.

I frequently feel that these 90 minute plays are outlines (best example...A Doll's House, Part 2, which IMO was a brilliant outline, not a play; I also felt that was true with Doubt...I think we should have had more backstory about the mother superior character and the priest).

I did not feel that way with this one. I felt that it was an incredible theatrical experience, and could not stop thinking about it for days. I went with two other people, and we all had different interpretations of what we had seen, and could argue our positions. That to me is rare, as was the play.

A long, tiresome, and frustrating 90 minutes that stubbornly refuses to engage interest.. A flaccid, talky bore. And also what we've come to expect nowadays: endless narration —- the lazy person's substitute for actual playwrighting. Look, if you're so enamored of narrating, then write a novel. But if you're going to write a play, then dramatize.

This is also the third play I've seen this season that endlessly drops the name of famous writers. I guess that's supposed to give these plays enhanced prestige. It doesn't. If you can't write a good play on your own, than referencing great writers isn't going to do it for you.

The actors were good, but the dreary lighting and design helped matters not a bit.

Updated On: 10/31/19 at 07:31 AM

After Eight said: "A long, tiresome, and frustrating 90 minutes that stubbornly refuses to engageinterest.. A flaccid,talky bore. And also what we've come to expectnowadays:endlessnarration —-the lazy person's substitute for actual playwrighting. Look, if you're so enamored of narrating, than write a novel. But if you're going to write a play, then dramatize.

This is also the third play I've seen this season that endlessly drops the name offamous writers. I guess that's supposed to give theseplaysenhanced prestige. It doesn't. If you can't write a good play on your own, than referencinggreat writers isn'tgoing to do it for you.

The actors were good, but the dreary lighting and design helpedmatters not a bit."

What were the last 4 - 5 new shows that you actually liked?

I understand people do not enjoy shows and their opinions are more than allowed, but I don't believe I have ever seen After Eight write a positive review. I really question their motives on this board, and for going to Broadway in general.

A8, unlike some others, I always find your posts very helpful as if you don't like a show, odds are it's pretty good though one has to be careful here cause due to the consistency of hating almost everything, like a broken clock that does show the correct time twice a day, you're bound to be right about a few shows.

You are truly the living embodiment of the old adage "be good or be bad, but be consistent".

Forty Carats. LOL.

Updated On: 10/31/19 at 12:01 PM