TOOTSIE - Chicago tryout — Page 12

Chris Jones at the Tribune usually gets his review out the next day. Expect it on Monday, likely sometime between 12pm-4pm CST. Other reviews will likely pop up throughout the day elsewhere.

Welp, spoke too soon, looks like he got it out pretty early.

The creative team and producers I'm sure are THRILLED with this rave from Chris. Hopefully they'll take the constructive criticism concerning the ending and find ways to make some changes before New York.

Saw it Saturday and I loved it! I agree about adding a bit more drama to the 11 o'clock number and more build from that number through the finale, but holy cow, the show is HILARIOUS and in excellent shape already (far superior to the last man-in-drag best musical winner, Kinky Boots). I think the score is pretty strong and for me, it was pretty memorable for any new musical score that I've seen cold, with no cast recording or multiple television appearances to assist the listener. I've been humming Sandy's number ever since I walked out of the theatre. So many gems that I think, not unlike Women on the Verge, will gain traction and quickly generate a lot of fans and appreciation once the cast recording is released. I was all smiles start to finish and laughed out loud numerous times, sometimes from lyrics, numerous times from lines, and a few times from sight gags (I guffawed at the Donna McKechnie reference). Yazbeck infuses a his quirky stylings into roughly half the score, but this is by far his most conventional "Broadway musical" score to date, though some of that having to do with the musical-within-a-musical (fondly reminiscent of Something Rotten).

Nothing is really exciting or memorable, and I think this is Yazbek's weakest score so far.

Really? Dirty Rotten Scoundrels is probably my least favorite of his scores, but honestly, there are always a few scattered "unmemorable" remarks about the score for every show he's ever opened. Any single song I find more memorable than the entirety of Andrew Lippa's musical theatr career, for whatever that's worth. I can't forget Sally's number (melody is still stuck in my head), the I'll Make You Proud audition (stopped the show when I saw it), the classic Yazbek subtle ballad Julie sang in the bench scene, and Jeff's hilarious expletive-laden number at the top of Act 2. The only one that really didn't work for me was Julie's nightclub performance. Granted, it's not a scene where the song is intended to be an extension of the narrative, but I just wanted the lyrics to link a bit more to the message of the show and perhaps ground her character a bit more. The music is great and Lilli Cooper performs the hell out of it, but it needs that extra layer of subtle relevance. Julie is the one character that feels underwritten and it's probably because she's been relegated as the "straight" character while all the comedy is being delivered by everyone else around her.

If I were going to add anything to the score, it would be turning the contract negotiation dialogue between Dorothy and the producer in Act 2 into a short and fun duet. It's a good scene, but as a song, I think it has potential to be as great as the Sandy and Jeff comic numbers.

This show is going to be raking in the Tony noms. I could easily see acting noms for Fontana, Stiles, Grotelueschen and Behlmann. Plus noms for Musical, Book, Score, Direction, Choreography, Costumes, Scenic Design and Orchestrations. I'm definitely going to try and catch this again before it leaves Chicago.

Updated On: 10/1/18 at 05:24 PM

Am I wrong about Dorothy's audition number? I've been calling it "I Won't Let You Down" because that's what I remember, not "I'll Make You Proud."

No, you're right. Somehow, I thought of the Tootsie song in my head, but translated it into Martin Guerre when typing. I remember the melody more than the specific lyrics and there was no song list in the Playbill. I wonder how Jeff's song will be listed? *tee hee*

Speaking of Sandy, that Dirty Dancing joke brought down the house, though I heard a woman behind me very distinctly say, "I don't get it". SERIOUSLY?!?!?!

Yes, I was at the evening show when that Chicago poster didn't light up. But from where I was seated, you could still tell it said "CHICAGO". I remember the door thing happening as well and thought it was sort of funny in that particular moment. But, even for long running Broadway shows, these things happen. I remember seeing the stage curtain get caught on the dressing room set in the Kiss Me Kate revival as it rolled out and a stagehand had to step out on stage to fix it.

The whole show made me giddy and happy at a time I really needed it. For me, this show is already a hit in its current form and I've a feeling they're going to knock it out of the park on Broadway. I was really looking forward to another Yazbek show (probably the most excited I've been about an announced Chicago tryout since Spamalot and The Pirate Queen), but I was a bit wary of this particular adaptation. It exceeded my expectations and didn't let me down. (see what I did there?)

I will try the lottery.

If I don't win, seems Dress Circle R LL6 and Dress Circle Left EE1 are good options, better than balcony.

Any opinion on the view?

Our local PBS station, WTTW, had a nice interview with Santino and Lilli tonight.

Chicago Tonight - Tootsie Interview

MadsonMelo said: "I will try the lottery.

If I don't win, seems Dress Circle R LL6 and Dress Circle Left EE1 are good options, better than balcony.

Any opinion on the view?"

Hello MadsonMelo,

Tonight, I headed up to dress circle before the performance and tested out your two seats.

R LL 6 has a more centered view of the stage, but there are a few speakers hanging in your way. Though the speakers would not block your view of any of the show itself, a smidgen of the top of the grand red traveler curtain is blocked.

L EE 1 has a much better view of the red curtain as well as being a great perch to people watch. Yet, a hint of one upstage corner will be missed.

I like L EE 1 as it will also offers views of sets before they are rolled into place. This seat also allows you to see some of the lighting in action, which I find exciting.

But you will probably instead win the easy lottery.

Updated On: 10/9/18 at 08:34 PM

Just got my 3rd row on the aisle ticket for $59 for Thursday! I am so glad they are discounting rather than having the theatre go empty. I know it is not sold well, but I think when it comes to NY it will be a different story.

So looking forward to seeing this!

What surprises me is how poorly this wonderful show is selling.

Honestly, it's pretty standard for any Chicago tryout without a BIG STAR NAME as a box office draw. It probably didn't help that this show followed the tryout of Pretty Woman.

Sarah Stile interpretation of Sandy was just annoying. Terri Garr was quirky and neurotic. This was just irritating...So loud! Grating...

OMG...I love how Sarah Stiles plays Sandy! Musically, it works better as it adds to her dynamic range and reads better in a large theatre that doesn't enjoy the advantage of closeups to capture a more subtle and subdued performance. If Sandy weren't irritating and annoying, she wouldn't be half as funny.

My quick review from Thursday nights show.....I just feel it will be a hit in NY. In the orchestra the audience was 100% engaged and the laughter and applause never stopped. Santino, in my own opinion, gives one of the best male lead performance I have seen in years. He is on 100% of the time and is so quick witted with ad-libs. He couldn't hang up his dress in Act 2, it just kept falling and he made a 30 second it about it. Sarah Stiles is hysterical. I don't find her whiney I find that to be the character and they way she was directed. I found it hysterical, her monologues are just side split-tingly funny. The ending was a little off, my only real negative, just because to me the seemed to try and make this seem like an old time musical with the curtain and partial overture/Entr'acte. But I just loved it. Jute Halston's one liners are hysterical and I have a feeling in NY she will be changing them up from night to night.

Just a great show, a great escape that so many people need! So glad I went!