TOOTSIE - Chicago tryout — Page 3

BroadwayConcierge said: "What’s the production value/design like? Is Santino giving a potentially Tony-worthy performance?"



The set design is simple, but effective. It could use more unity, in my opinion. The costumes for the "Broadway show" in the show are gorgeous (but, let's be honest, Bob Mackie is taking home the Tony this season).

And, Santino, in my opinion, has a nomination locked.

BroadwayConcierge said: "Thanks, TheSassySam!

Also, how’s Yazbeck’s score?"



I enjoyed it! Woman on the Verge meets Full Monty. The song that Sarah Stiles has is VERY reminiscent of "Model Behavior" from Women on the Verge.

Observation said: "Thesassysam



Did you do lottery? We did, no problems getting tickets."



I snagged one via TodayTix! I got 4th row Center Orchestra for $59. Where were the lottery seats?

The creative team must have been very happy with the audience reaction to this first preview. The crowd was very enthusiastic, laughing in all the right places, applauding key moments, and soaking in the tremendous star turn of Santino Fontana. And I was right on board with them. After seeing recent tryouts of Pretty Woman and The Cher Show, this was really a welcome triumph. There was no sense that this was a first preview. The acting, transitions, song performances and pace were flawless. I agree this could be a major hit on Broadway just as is.

There was no song listing in the program, so it's difficult to refer to specific numbers, but as a big fan of Yazbek's scores, this one did not disappoint. So nice to hear a variety of styles, lyrics that advance the plot or express a specific character's thoughts (except for several performance numbers in the show-within-a show or by Julie (Lilli Cooper) in her solo show act), scenes that are really, really funny, characters that have personality, make sense and evolve throughout the show, and classic musical theatre pacing. This show is everything that Pretty Woman is not.

The framework of the show mirrors the source material, but it is set in modern day. I didn't have any problem with this. There are no weird 2018 references; the setting is just contemporary. The only modern day references relate to the recent evolution of the women's movement. I thought this was handled very well and added a twist of female empowerment that had to be added. The other significant change, as discussed before, is that Michael/"Dorothy" auditions for and joins a Broadway musical, rather than a soap opera.

The show started out with a cheesy number (for which I couldn't understand the lyrics due to the theatre's bad acoustics), and I was concerned this was a bad sign, until we find out it's the rehearsal of the opening number of the show-within-a show. This internal musical is a "sequel" to Romeo and Juliet, in which Juliet actually lives. And falls in love with Romeo's brother, Craig. "Craig" is played by a young stud reality star making his Broadway debut and is one of the very funny characters who is a little dopey and has some of the best jokes. (After speaking with Dorothy, he ends with "Namaste....na'magonnago." Well, I laughed... Reg Rogers is also hysterical as the self-centered director of the show. Dorothy joins the musical playing Juliet's nurse, but gradually makes the show all about her and becomes a big star (through word of mouth and message boards) by opening night.

Michael's best friend, Jeff (Andy Grotelueschen), is terrific. Their early scenes have are terrifically funny, and once things explode, Jeff has a great 2nd act opening song about how Michael really f***ed up, which is repeated endlessly along with other phrases for f***ing up. Michael's other friend, Sandy (Sarah Stiles), has her own star turn too, with a number about her neuroses and failures, which is reminiscent of "Model Behavior" - quick tempo and hysterical. The song is hilariously reprised a couple of times.

There are too many highlights to describe. My only minor gripes were not giving enough to do to Julie Halston. It's Julie f'ing Halston! She needs more than her couple of scenes and couple of jokes. Also, Michael McGrath is very funny, but only in a couple of scenes. Finally, the ending seemed a little abrupt, and Julie forgave Michael very quickly. These are really minor points in a show that I thoroughly enjoyed and can't wait to see again soon.

I'll repeat again, this is Santino's show. He is terrific and is carrying this almost entirely on his shoulders. And he's amazingly successful at it. I am very optimistic for this show's prospects.

Updated On: 9/12/18 at 12:41 AM

Sustained laughter.

Wonderful legacy robe moment. One of its panels reads POPULAR MOVIE, THE MUSICAL.

Act I ran 1:21.
Act II ran 1:02.

Shout outs to Santino Fontana, Lilli Cooper, Sarah Stiles, John Behlmann, and especially Andy Grotelueschen. It is a nerdy thrill to see actors playing actors.

Music Director/Conductor Andrea Grody - who has played piano since age 5 - led the wonderful sixteen piece orchestra.

Great score.

Audience enthusiastically applauded a few of the many woman empowerment lines, but I'd recommend removing at least one or two of the passages. I love a great sermon, but I want coffee cake afterward.

Updated On: 9/12/18 at 12:48 AM

Menken Fan said: "The creative team must have been very happy with the audience reaction to this first preview. The crowd was very enthusiastic, laughing in all the right places, applauding key moments, and soaking in the tremendous star turn of Santino Fontana. And I was right on board with them. After seeing recent tryouts of Pretty Woman and The Cher Show, this was really a welcome triumph. There was no sense that this was a first preview. The acting, transitions, song performances and pace were flawless. I agree this could be a major hit on Broadway just as is.

There was no song listing in the program, so it's difficult to refer to specific numbers, but as a big fan of Yazbek's score, this one did not disappoint. So nice to hear a variety of styles, lyrics that advance the plot or express a specific character's thoughts (except for several performance numbers in the show-within-a show or by Lilli Cooper in her solo show act), scenes that are really, really funny, characters that have personality, make sense and evolve throughout the show, and classic musical theatre pacing. This show is everything that Pretty Woman is not.

The framework of the show mirrors the source material, but it is set in modern day. I didn't have any problem with this. There are no weird 2018 references; the setting is just contemporary. The only modern day references relate to the recent evolution of the women's movement. I thought this was handled very well and added a twist of female empowerment that had to be added. The other significant change, as discussed before, is that Michael/"Dorothy" auditions for and joins a Broadway musical, rather than a soap opera. This musical is a "sequel" to Romeo and Juliet, in which Juliet actually lives. And falls in love with Romeo's brother, Craig. "Craig" is played by a young stud reality star making his Broadway debut and is one of the very funny characters who is a little dopey and has some of the best jokes. (After speaking with Dorothy, he ends with "Namaste....na'magonnago." Well, I laughed... Reg Rogers is also hysterical as the self-centered director of the show. Dorothy joins the musical playing Juliet's nurse, but gradually makes the show all about her and becomes a big star (through word of mouth and message boards) by opening night.

Michael's best friend, Jeff, is terrific. Their early scenes have are terrifically funny, and once things explode, Jeff has a great 2nd act opening song about how Michael really f***ed up, which is repeated endlessly along with other phrases for f***ing up. Michael's other friend, Sandy, has her own star turn too, with a number about her neuroses and failures, which is reminiscent of "Model Behavior" - quick tempo and hysterical. The song is hilariously reprised a couple of times.

There are too many highlights to describe. My only minor gripes were not giving enough to do to Julie Halston. It's Julie f'ing Halston. She needs more than her couple of scenes and couple of jokes. Also, Michael McGrath is very funny, but only in a couple of scenes. Finally, the ending seemed a little abrupt, and Julie forgave Michael very quickly. These are really minor points in a show that I thoroughly enjoyed and can't wait to see again soon.

I'll repeat again, this is Santino's show. He is terrific and is carrying this almost entirely on his shoulders. And he's amazingly successful at it. I am very optimistic for this show's prospects."

I agree with this 100%. The only flub I saw was a dress of Dorothy's coming unbuttoned during the build of the show within the show. Santino is a damn star. I saw next to a couple who were clealry huge Tootsie fans, and they seemed to enjoy it as well. I'm not familiar with the original movie (though now I want to see it!!) I also loved Lilli Cooper's song in Act 1 that discusses the sacrafices artists make for their work (she sings about a boy who used to watch her perform, they fell in love, and she'd go off to do a show, he'd follow her, then eventually grew tired of it and left her.) The only qualm I had with that song is melodically it seemed all over the place. I couldn't really follow where she was going. (I hope that makes sense????)

Nothing about tonight gave me any reason to think it was a first preview performance. I want to revisit before it leaves and see what changes were made. I saw a later in the run Cher Show preview and left feeling like it needed A LOT of work. This feels very coherent, and I think will be a smash on Broadway.

I loved the references to the women's movement, they didn't feel shoehorned in or misplaced, they felt real and natural. At one point, Dorothy is offered to renew her contract and she makes sure all the women in the cast are paid equally to the men which got an applause from the audience. I felt like we were going through a fully realized journey with Santino as he is a self-absorbed schmuck to someone willing to risk it all to help everyone he has hurt along the way.

Sarah Stile's song (which is repeated throughout the show, hilariously!) reminded me a bit of "Model Behavior" from Women on the Verge of a Nervous Breakdown.

Hopefully this is coherent!

theaterdarling said: ""Just got out of the show. This is gonna be a hit!! A couple little tweaks. But overall very very solid. Santino had everyone eating out of the palm of his hand the entire show. I’ll post more tomorrow when I’m not on my phone.


I may know someone who has full audio..."

And I am sure you are going to tell that person you "may know" who has full audio that what he or she did was illegal, that stealing the work of the numerous artists involved is a really, really awful thing to do, that you would never go on a chat board and brag about this acquisition and you will have no part in disseminating it.

Given that it is highly likely that the moral and legal imperatives noted above mean little or nothing to you, what was it about the numerous signs that were posted about using electronic recording devices that you missed? Signs or no signs, what is it about the moral core of this person you "may know" that allows him or her to rip-off the artistic endeavors of others and makes you infer with your "…." that if the audio was recorded that you will be passing it on to others or telling others how to access it? Stealing intellectual property is always a reprehensible thing to do, but a special place in hell is reserved for someone who releases an out of town preview when the creators are still trying to shape the show. Oh, but, how cool and inside-y are you that you "may know someone" who has committed such a selfish (and did I mention, illegal) act. You seem so proud.

Have no interest in hearing "more" from someone who has so little respect and such blatant disregard for artists that they are boasting over audio stolen from a preview performance. <> "Someone you may know" has mugged the artists in this production and you have aided and abetted.

Once again, the shameless and brazen bragging about the theft of artists' property on these boards is appalling and should not be tolerated--but it is. Once again, moderators, why don't you shut down those posters who condone or boast about bootlegs and, in doing so, aid and abet and propagate theft.

Looking forward to hearing comments about the show and returning this thread back over to those who have seen the show but also have respect for artists and their intellectual property rights.

"



Please check your direct messages. I have edited my response to remove any mention of the recording I am aware of. I appreciate you taking the time to write your feelings expressed above. I hope we can continue discussing the Tootsie.

theaterdarling- Special place in HELL? Are you for real? In the end, aren't we happy there is audio of CARRIE on Broadway? Aren't understudies happy when fans slip them a video of the one time they went on? You're not supposed to do it but it does capture history. Furthermore, all the word of mouth on Tootstie is POSITIVE. Such bootlegs might add to the buzz that turns it into a hit. People just don't like it when it's a turkey. As an actor, it wouldn't bother me that much. I mean not recording a preview isn't exactly in the Ten Commandments.

Updated On: 9/12/18 at 02:36 AM