TOOTSIE - Chicago tryout — Page 5

Sorry if this has already been mentioned. I know someone said the set was minimal, but was it actual physical pieces solely or did it use screens?

All I can do is echo the praise on this board already. It's not a perfect show yet, but they have a hit on their hands. It must be nice to be David Yazbek right now--the toast of Broadway with a Tony winning musical selling out every night and an out of town tryout that has audiences rolling in the aisles.

I saw the film for the first time earlier this week, and I loved it. I loved the musical as well. The overall structure is mostly the same, but the musical captures what works about the film while finding its own voice. I couldn't help but think the entire time that this is what Pretty Woman could have been.

Santino Fontana is giving a star performance. Early on, when his character is temperamental and not so lovable, he infuses the character with so much charm that you sign on to following his story anyway. As the character grows and changes, you buy every beat of it. I've long been a fan of his, and I was so thrilled to see him in a role where he can really show off.

The supporting cast is also consistently fantastic. Everyone rises to the occasion in their respective moments, and each character is given proper time to shine. The book is filled to the brim with witty jokes that just keep coming. The choreography stands out for its inventiveness and creativity throughout--it excels even in moments when the choreography need only serviceable to keep the story moving forward.

And then there's the score--I love David Yazbek (Women on the Verge, especially, is a very frequently played album for me) and the score has the same jazzy style and off-kilter verve one expects from him. As others mentioned, the songs for the supporting characters especially stand out. And for the character of Max (a hot, dumb reality star making his Broadway debut, a role not in the original film) Yazbek once again shows us how to write a smart song for a dumb character. His lyrics are sharp, ironic, and entirely within his voice without ever sacrificing the voices of the characters. And it is so relieving to hear a new Broadway score which doesn't just have its lead actors scream in the stratosphere the entire evening and instead draws you in with, well, good writing.

All that said, here are my few qualms that if the creative team addresses would make this show even better:

1. The diegetic numbers for the show-within-the-show don't entirely work. The show-within-the-show is clearly supposed to be bad, but it seems that Yazbek struggles to write songs that are entirely bad, so they get caught in a weird middle-ground. The fake out opening number is not a strong enough opening to the show, and it isn't bad enough to allow you to actually laugh at it. Santino's audition song, similarly, starts as a run-of-the-mill power ballad that he then is supposed to inject with life, but the song doesn't start out bad enough to be funny, and then it can only soar so high by the end if we have been set up to believe the material isn't great.

2. As others have noted, there are too many applause-grabbing lines. It's well and good to know that the show's heart is in the right place, but feminist manifesto lines are shoehorned in more for the sake of making the audience clap than because they naturally fit within the story. A couple are fine, but the show stops a few too many times to make sure we're all on the same page about feminism. Showing would be better than telling. Similarly, many of the jokes feel like stand-up jokes inserted into a story and aren't grounded enough in the situations. Thankfully, there are enough fantastic jokes that the show can afford to cut the extraneous ones.

3. The best songs in the show are for the supporting characters. Santino needs a stronger late-in-act-two number--and it should probably be in the moment leading up to him taking off his wig rather than in his dressing room before the opening night.

But honestly, even if they don't change a single word, this show is going to be a big hit. Word of mouth will do this show very well. What a welcome relief after the disaster of Pretty Woman and the beautiful, unfocused mess of The Cher Show. I've seen almost every out-of-town tryout that has come to Chicago since The Addams Family, and the only show that has really rivaled this one was Kinky Boots. Again, that's not to say that it's perfect just yet, but there were stretches where I thought to myself "this is what musical comedy should aspire to be." Well done.

Sounds great! I hope though they don't mess around with it once it leaves Chicago. I mean, how many times have we heard of shows being remarkable out of town, and they fixing the wrong things before Broadway. I wish them all the best.

BalconyClub said: "MusicalFan1030 said: "...iinappropriate for kids?"

I did not see anyone under high school age at the first 2 previews.

"

Not Akron!

BalconyClub said:

"2. There are a few times when Dana Carvey's Church Lady character invades my empty head during the show."


Oh my goodness! YES! When I saw it I kept seeing hints of SOMETHING but couldn't figure out what. But yes, he's got some of the Church Lady mannerisms and looks going.

Thanks for this review. I thought it was spot on'ish. My comments mirror many of yours, though I think I am taking it right now as a solid "A" which is wild given I saw the first and second shows with audience.

- "Joe's Pub" number (Bats in the Belfry?) doesn't work

- The supporting cast is stellar (Halston, Bellman especially just blows you away)

- Fontana is inhabiting Dorothy / Michael in such powerful and nuanced ways that Yazbek and Horn's music and book simply soar

- First act finale is extremely satisfying

- Second act finale is abrupt for my head and shoulders

- Horn has never been better - a star is born in this book's update from 80s to now

- Yazbek's "F*CKed it Up" is so satisfying & sums up what we have all done to get a job and still find we ****ed it up

- The show within the show works incredibly well

- Bellman has a star turn, and Sandy is sublime

I will add that the sets are are solid, and made me miss NYC a little bit more. I predict this TOOTSIE will roll right into NYC with a bit more work and become a hit hit for great white way.

Guess I know what I’m watching this weekend... thanks!

is this a joke?

BalconyClub said: "The third preview on Thursday, September 13 cleared up a confusing Act 1 scene change for me. Earlier this week, I thought Sandy's initial song I Know What's Gonna Happen number took place in her apartment.

The scene actually takes place in Michael's bedroom.

The show stopped cold tonight in Act 2 immediately after Dorothy's dressing room scene.

The ensemble and Dorothy realized that the center stage trap door was malfunctioning. It may have been open or ajar.

"Everyone, please leave the stage," said a calm miked voice from off stage. The ensemble split into two, and headed into the nearest wing. Dorothy happily skipped off stage.

The production's front red curtain slowly inched down to the stage, then Fontana as Dorothy soon appeared.

"We've all just shared a special moment," surmised Dorothy. "It's our third preview. Do you have any questions for Dorothy?"

Someone in the audience quickly asked, "What's happening?"

"Technical difficulties," sweetly answered Dorothy.
"We have a magical hole that needs fixed. The magic will return soon. I won't let you down."

Dorothy then asked "The cast and crew want to know, we're in Chicago, where should we eat?"

This being Chicago, the audience first suggested a few pizza joints like Giordano's and Gino's East, as well as the upscale 312 and lowly Super Dawg. The Purple Pig was also suggested.

Next, an audience member asked "What's your favorite soap opera?"

"When I was young, I used to watch soaps with my Mom, who has pneumonia," Dorothy slowly recalled. "We watched General Hospital, which is ironic, as Mom had pneumonia."

The off stage miked voice then instructed, "Ms Michaels, we're ready for you backstage."

Fontana gleefully skipped off stage.




"

This is probably going to sound like an extremely dumb question, but how is it that you're able to see all of these performances for these tryouts? As much as I want to hear a breakdown of every little change that's being made, I would much rather read reviews than just a list of changes (even if the show is still technically in "previews" in Chicago!)


Also, considering you did this for The Cher Show this past summer, do you do this for all of the out-of-town tryouts in Chicago?

Updated On: 9/14/18 at 01:23 AM