Posted: 9/14/18 at 1:40am
Solipsist234 said: "how is it that you're able to see all of these performances for these tryouts?
I live in Chicago.
Posted: 9/14/18 at 1:50am
BalconyClub said: "Solipsist234 said: "how is it that you're able to see all of these performances for these tryouts?
I live in Chicago.
"
Okay, let me rephrase my question since a) you didn't answer it, and b) you decided not to use any common sense with your snarky comment.
How is it that you're able to see all of these performances for these tryouts in Chicago???
Posted: 9/14/18 at 1:57am
SomethingPeculiar said: "For those who've seen it, what's the orchestra (musicians, not the seating section) like?
Michael Riedel's column tomorrow: "Early Tony buzz for Broadway-bound Tootsiemusical". I guess the PR people have been chatting with him."
The orchestra (and the orchestrations by Simon Hale) sound fantastic, although the acoustics of the Palace are unfortunately not the best, so sometimes you lose a few lyrics (had the same problem earlier this summer on the tour of Waitress)
The breakdown of the orchestra is: Conductor/Key 2, Associate Conductor/Key 1, Drums, Electric/Acoustic Bass, Guitar, Percussion, Trumpet 1, Trumpet 2, Trombone, French Horn, Reed 1, Reed 2, Reed 3, Violin (concert master), Viola, Cello. The playbill doesn't list the specific reed doublings, but I didn't hear anything particularly out of the ordinary. The primary influence on the score is contemporary jazz. It sounds much like Yazbek's other music--so much so that at intermission, my friend who was unaware that Yazbek had written the score said to me, "This composer must really be a fan of David Yazbek!"
And for the person who asked earlier, I had just seen the film last week, and my friend had never even heard of the film until the day before, and we both had an equally wonderful time. See the film at some point because it's a great film, but don't feel pressured to do so before you see the show. Both are fantastic in their own rights.
All day, I've been telling everyone they have to see this show. It was such a delight I might very well try to return to the show near the end of its run.
Posted: 9/14/18 at 2:14am
How is it that you're able to see all of these performances for these tryouts in Chicago???"
Um. Because the Tootsie tryouts are taking place in Chicago.
I share my ticket at the theatre entrance with an usher. The usher then directs me to the appropriate level or aisle.
Posted: 9/14/18 at 2:37am
BalconyClub said: "How is it that you're able to see all of these performances for these tryouts inChicago???"
Um. Because the Tootsie tryouts are taking place in Chicago.
I share my ticket at the theatre entrance with an usher. The usher then directs me to the appropriate level or aisle.
"
*through gritted teeth*
How is it that you are able to get into these performances consecutively, meaning how are you able to see the first three previews in a row? Comps? Discounts? Rush? Super curious!
(I ask this, knowing that you will probably see the show 20-30 more times in Chicago, but not offer any particular insight other than "they changed a line for Sandy today" or "the dancers were doing different moves than the previous night", rather than giving, you know, an insightful REVIEW of the show!)
Don't worry, it's nice to have an inside person within Chicago's Theater District report on different changes and not on the state of the show. You do you, I guess!
Posted: 9/14/18 at 5:46am
They buy tickets. What difference does it make how much they paid? Is it your money they're spending?
You're allowed to buy tickets any dates you want....pretty much anywhere on the country.
Why is this concept difficult for you to grasp?
To be fair to Balcony, your question was incredibly vague....YOU should not have been the frustrated poster.
Lastly, commenting on changes IS telling us about the show. Too damn bad if you dont like his methods...he doesn't have to do so to your expectations. (How many times can you want to read a variation of a rave?)
Updated On: 9/14/18 at 05:46 AM
Posted: 9/14/18 at 5:57am
Posted: 9/14/18 at 2:57pm
robbie_731 said: "If Yazbek wins Best Score again at next year's Tony's among another potential weak field, then he'd be the first composer to earn it two years in a row since Cy Coleman in the early 90's, and composer/lyricist since Sondheim in the early 70's. Do I have that right?"
It's looking that way really no competition in this field...King Kong, The Prom, Beetlejuice, Pretty Woman are the only other shows with original scores that will possibly get nominated along with Be More Chill. I'm not including the awful Getting the Band....
Updated On: 9/14/18 at 02:57 PM
Posted: 9/14/18 at 3:13pm
Philip Glass, Adam Guettel, and Gabriel Kahane's scores for Lear, Mockingbird, and Waverly Gallery could also be nominated.
Posted: 9/14/18 at 4:05pm
SomethingPeculiar said: "Philip Glass, Adam Guettel, and Gabriel Kahan
Cool, that's true!
Posted: 9/14/18 at 4:58pm
Posted: 9/14/18 at 6:41pm
Posted: 9/14/18 at 8:13pm
Solipsist234 said: "...How is it that you are able to get into these performances consecutively, meaning how are you able to see the first three previews in a row? Comps? Discounts? Rush? Super curious!"
There are some great deals available to anyone and
everyone.
Many main floor seats are on sale for $59 through September 29. Use a code of TOOTSIE on Ticketmaster to obtain the deal.
Today Tix has many Chicago fans. At the theatre, I have seen dozens of users pick up their tix from a Today Tix rep immediately outside the marquee area.
Broadway Direct offers 26 tickets in its on line lottery for each performance. $25 and $2 service fee.
The buzz on the show is high. Ticket buyers are now buying the front row with the $59 code, so the lottery winners are now assigned main floor seats either on far sides or rear orchestra.
I landed a $22 dress circle seat for the second preview on StubHub.
StubHub is showing upper $10-15 balcony seats for tonight and Saturday.
Updated On: 9/14/18 at 08:13 PM
Posted: 9/14/18 at 9:36pm
Valentina3 said: "God I hope they change the artwork. It's so unoriginal. Tootsie deserves some fun Hirschfield-style cartoon as the primary art for the show with a play on the phrase "he said she said", not a generic font in red glitter."
NEW
OLD
Posted: 9/15/18 at 12:07am
Posted: 9/15/18 at 6:57pm
Posted: 9/15/18 at 7:05pm
Preview Thoughts
Saw today's matinee. The cast is great and the score is decent but the show doesn’t work for me. The choice to move it from 1980’s soaps to 2018 Broadway sinks it. Dorothy is co-starring in a terrible musical that they re-write into a… still terrible musical… (Curtains had the same problem). Meanwhile we’re told that everyone loves Dorothy and that Michael has learned compassion from her. We’re told that… but never shown it.
Also we’re in a New York where iPhone exist but no one’s heard of drag, bisexuality, trans rights or gender-queer performers. Dorothy simply isn’t that shocking in 2018.
What works:
The leads. Satino Fontana and Lilli Cooper are appealing performers with top notch vocals. Hopefully they’ll get the rewrites they need to sell their romance.
The clowns. The dim hunk (John Behlmann), the slacker roommate (Andy Grotelueschen) and the high-strung actress (understudy Leslie Donna Flesner crushed it) do fine work with their comedy songs.
The costumes. The gowns and wigs are gorgeous. The quick changes are clever. (Though I selfishly wish they’d gotten the chorus men into tights for the Elizabethan play).
Posted: 9/15/18 at 7:06pm
And here is a spoiler tagged song list from the 9/15/18 preview.
Act One
Big City Opening Number – Chorus sings over Michael’s audition montage.
Whatta you do? – Michael’s “I want” song.
I Know What’s Gonna Happen – Sandy’s comedy patter song.
I Won’t Let You Down – Dorothy’s audition ballad.
Alive – Julie’s “show within a show” song.
There He Was – Julie’s ballad about her ex.
I Like What She’s Doing – Ensemble. Dorothy’s rise to stardom montage. I’d like to see this part of the story fleshed out. What exactly is she doing?
Who Are You – Michael and Julie ballad
Unstoppable – Michael/Dorothy act one finale.
Act Two
You F’d it Up – Jeff, the roommate’s, comedy song to Michael.
Gone Gone Gone – Julie’s nightclub number with backup singers.
What is This Thing? – Max, the TV hunk’s, comic love song to Dorothy.
The Greatest Night Of My Life – Chorus hyped for Opening Night. I like that they gave each chorus member their own line.
Thank You – Michael’s big ballad in the dressing room. Where an 11 o’clock number might go?
Plus lotsa reprises and an abrupt ending.
Posted: 9/16/18 at 12:14am
A friend at the show said Sarah Stiles was out tonight as well. Hope she's well!
Updated On: 9/16/18 at 12:14 AM
Posted: 9/16/18 at 12:24am
Can someone give me a brief synopsis of the new story line, please.
Why does Dorothy need to get into drag to get into a musical? Did he fail as a male singer but somehow the frock made the difference?
Confused---and does he do the Victor/Victoria reveal? Gasp!! Never seen that before.
Posted: 9/16/18 at 2:07am
SweetLips22 said: "Can someone give me a brief synopsis of the new story line, please.
Why does Dorothy need to get into drag to get into a musical? Did he fail as a male singer but somehow the frock made the difference?
Confused---and does he do the Victor/Victoria reveal? Gasp!! Never seen that before."
He's told nobody will work with him because he's horrendous to work with. (We are shown this in the opening number) So he hears about this audition from Sandy. So he auditions and gets the part of the nurse in the play.
His reveal is actually very similar to the film. No number attached to it.
Posted: 9/16/18 at 8:15pm
I saw Saturday's matinee as well and was shocked how much I loved it. Santino Fontana is magnetic and hilarious in this role and has the audience eating out of his hand. John Behlmann as the hot hunk rivals Santino in comedic timing.
It was also tremendous fun seeing Leslie Donna Flesner step in for Sarah Stiles. The cast applauded her performance and during the group bow, Lilli gave her the biggest smile that was the icing on the cake for me.
I really enjoyed the score but at times it was a little too close to Full Monty, especially the Act II opener "You F***ed It Up". I think it definitely needs another number at close of the show, either for his reveal or the bench scene between Michael and Julie. The curtain fell abruptly, in contrast to the perfect ending to Act I.
Posted: 9/16/18 at 8:19pm
Also, Dorothy is only ever called Tootsie once in a total throw-away line, but called Honey and the like over and over. I saw it with a friend who even missed that line and turned to me afterward to ask why it's titled Tootsie. I don't remember the movie well enough to know if it's more motivated there, but this seems like a case of just using the movie title for name recognition.
Posted: 9/16/18 at 8:52pm
As I recall, there was just one reference to Dorothy as Tootsie in the film, too. (Full disclosure: It has been a couple years since I last saw it.)
