TOOTSIE - Chicago tryout- Page 7

[BrodyFosse123]

Posted: 9/16/18 at 9:11pm

Michael is never called Tootsie in the original film.

[PatrickDC]

Posted: 9/16/18 at 10:45pm

Ticketmaster is so frustrating! Been trying for 90 minutes using laptop, phone and tablet and a variety of browsers as well as the TM app. Order either times out or says can't be completed. Tried calling but the recording says they've got a high call volume, try again later, hangs up. 

Anyone know any tricks to navigate TM? I'll try tomorrow at work but there are three great seats together that I would like. Thanks.

[dramamama611]

Posted: 9/16/18 at 10:52pm

Tootsie encompasses ALL the names women are called..hon, sweetie, darling which are all demeaning.

Does Dorothy ever blow up at the director over it in the play? On the film, She wants him to use her name instead of all the cutesy words, noticing that he never does it to the men.

[BalconyClub]

Posted: 9/17/18 at 12:56am

dramamama611 said: "Does Dorothy ever blow up at the director over it in the play?"

The Tootsie line zips by quickly on stage in Act 1. When director Ron Carlisle says "TOOTSIE", Dorothy points out that ".... Max is always Max .... and my name is Dorothy ...."

Updated On: 9/17/18 at 12:56 AM

[SweetLips22]

Posted: 9/17/18 at 4:01am

Thanks Sassy for your reply to my question.

I have asked this before; I LOVED Dustin Hoffman's voice as Dorothy, how distinctive/different is Mr Fontana? Does he soften/falsetto and then sing in his natural high baritone?

Thanks for any response.

[Speed]

Posted: 9/17/18 at 6:13am

Correct.  The only utterance of the word tootsie is in the title song played during a montage in the film.

[Speed]

Posted: 9/17/18 at 6:17am

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.


Now- in the movie, Michael auditions for the part after helping Sandy prepare to audition for the role herself.  That's what gives Michael the idea and opportunity. Is that the case in the musical? 

[jbp1232]

Posted: 9/17/18 at 8:43am

 

Click Here To Toggle Spoiler Content

Yes, in the musical he’s helping her rehearse for an audition for Nurse in Juliet’s Curse (a musical comedy sequel to Romeo and Juliet) and then auditions for the part himself.

 

Updated On: 9/17/18 at 08:43 AM

[John Adams]

Posted: 9/17/18 at 9:54am

I hoping for another spoiler regarding the plot...

In the movie, Dorothy's success comes about because of one role, in a singular daytime drama, under a short-term contract. Michael panics when Dorothy's popularity with TV viewers creates an offer of a long-term contract that he can't get out of. He does not want to spend the rest of his career pretending to be a woman.

In Michael Riedel's  New York Post column (Early Tony buzz for Broadway-bound ‘Tootsie’ musical), he writes:

While the film had Dorothy’s rise chronicled via magazine covers, accompanied by the lyrics “Go, Tootsie, go!,” the musical shows her name appearing on one Broadway marquee after another.

The above seems to imply that in the musical, Michael accepts several roles, in several different Broadway shows as Dorothy Michaels. The musical-ized version of Michael seems to be OK with a long-term career as Dorothy.

So... In the musical, what prompts Michael's need to stop being Dorothy?

[TheSassySam]

Posted: 9/17/18 at 10:42am

John Adams said: "I hoping for another spoiler regarding the plot...

In the movie, Dorothy's success comes about because of one role, ina singular daytime drama, under a short-term contract. Michael panics when Dorothy's popularity with TV viewers creates an offer of a long-term contract that he can't get out of. He does not want to spend the rest of his career pretending to be a woman.

In Michael Riedel's New York Post column (Early Tony buzz for Broadway-bound ?Tootsie’ musical), he writes:

While the film had Dorothy’s rise chronicled via magazine covers, accompanied by the lyrics “Go, Tootsie, go!,” the musical shows her name appearing on one Broadway marquee after another.

The above seems to imply that in the musical, Michael accepts several roles, in several different Broadway shows as Dorothy Michaels. The musical-ized version of Michael seems to be OK with a long-termcareer as Dorothy.

So... In the musical, what prompts Michael's need to stop being Dorothy?"

In the musical, Michael doesn't accept multiple roles. That is more shown as a fantasy sequence with her name in marquees such as "The Elephant Woman" and playing BOTH Roxie and Velma in "Chicago"

 

[BalconyClub]

Posted: 9/17/18 at 11:05am

I love the 3 second segment where he imagines playing Cassie in A Chorus Line.

Updated On: 9/17/18 at 11:05 AM

[Major3]

Posted: 9/17/18 at 11:53am

The creators of Tootsie, the musical have turned a perfect, sublime film into a good musical. 

Overall, this is a funny, entertaining evening. It is not nearly as funny and ultimately moving as the film.

This is not a comprehensive review but I’ll share some thoughts.

The score is much more successful with the comic numbers, particularly for Jeff and Sandy. The ballads did little for me. One number in a nightclub brought the house down but did nothing to advance the plot.

The book emphasizes one-liners (many of them hysterical) over character development.

Santino Fontana is giving a thoroughly professional performance that evokes Dana Carvey’s Church Lady more than a strongly independent man/woman.

The supporting cast is stellar though several are wasted – (for crying out loud, give Julie Halston more to do and The role of Stan Fields, Michael’s agent, has been reduced to a near walk-on. These reminded me of how Jackie Hoffman was wasted in The Addams Family. And for me, when the story focused on Michael and Julie, I found myself hungry for more of Jeff, Ron, or Max.

The design is fine. William Ivey Long’s costumes are his usual brilliance.

The biggest letdown of the show was the final reveal of Dorothy’s true identity.  In the film, you could feel tension rising as everything hit the fan. Without going into detail, it’s VERY anticlimactic here.

I disagree with those that say it’s ready for a New York opening.

It’s very promising. There were many sections where the audience was howling with laughter.  But the creators have work to do. In other words, it’s where it should be for an out-of-town tryout.

[BalconyClub]

Posted: 9/17/18 at 1:29pm

Major3 said: "... The biggest letdown of the show was the final reveal of Dorothy’s true identity. ... it’s VERY anticlimactic here.

Agreed.

Spot on.

I don't know if it's Dorothy's awkward or stuttered references to a 2-sided coin or other side of a mountain, or the audience's immediate knowledge of the classic cinema reveal, or the difficult task of reaction close ups.

I think a stronger combination of book, blocking, and surprise to the audience will strengthen the scene.

Updated On: 9/17/18 at 01:29 PM

[WhatTheElle]

Posted: 9/17/18 at 2:40pm

orlikethecolorpurple said: "

The show says some wonderful things about equality and the power of women, but I couldn’t help being 100% let down that in a speech about acceptance and inclusivity, the agent character says, in an effort to display his tolerance, “hey, I have a client who’s dating a balloon!” Really? Tired."

Yes! That was disappointing. 

Updated On: 9/17/18 at 02:40 PM

[WhatTheElle]

Posted: 9/17/18 at 2:50pm

Also sat close - Orch R, row B, aisle seat. Totally unobstructed since no chair in front. Lots of good views from the R side. Couldn’t see feet but could see faces really well. Missed having the full straight on view for some group numbers a little bit but more than made up for it with the close angle view from the right for the rest of the scenes. I feel like a lot of the scenes were set to the right or center on stage.

[WhatTheElle]

Posted: 9/17/18 at 2:59pm

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

I agree! The crowded club number was all focused on Michael (and the audience) looking at and reacting to how sexy/angry Julie was while singing instead of showing us what’s going on in Julie’s head as she processes the kiss and what it made her feel. I’d much rather the lights have gone down to just a spot on her and the lyrics to have more clearly expressed her inner turmoil.

[John Adams]

Posted: 9/17/18 at 3:12pm

TheSassySam said: "In the musical, Michael doesn't accept multiple roles. That is more shown as a fantasysequence with her name in marquees such as "The Elephant Woman" and playing BOTH Roxie and Velma in "Chicago""

Thanks much!

[WhatTheElle]

Posted: 9/17/18 at 3:14pm

Observation said: "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."

 

That was my immediate takeaway too!  Like a cross between church lady and a young Dame Edna  

 

[WhatTheElle]

Posted: 9/17/18 at 3:25pm

John Adams said: "TheSassySam said: "In the musical, Michael doesn't accept multiple roles. That is more shown as a fantasysequence with her name in marquees such as "The Elephant Woman" and playing BOTH Roxie and Velma in "Chicago""

Thanks much!"

Also, to answer part 2 of your Q, Dorothy is offered a multi-year contract right before going on stage for opening night which further drives the reveal happening at that time.

 

[WhatTheElle]

Posted: 9/17/18 at 3:40pm

BalconyClub said: "OK, the geek in me is fascinated with the small tweaks that appeared in the Friday, Sept 14 performance.

Personally, I am extra jealous of how many times you’ve been and equally geeked out by the little changes. Please keep them coming and especially let me know if any of the following change:

1) The corny-ness of the “generous in bed” lines. Agree with previous poster that it range false. 

2) Julie’s knee to balls reaction. I felt they were trying for funny or aspirational but it wasn’t either for me. One instance when I’d rather have had more tell, less show. Maybe it’s just me. 

3) Staging during final Michael & Jeff scene and also final Michael & Julie scene. Instead of the characters speaking to each other, it felt like they were speaking out to the audience. Especially Jeff’s last line which was spoken from a doorway 10 feet away. They might as well have had a flashing sign that said “Moral” overhead. 

4) Why can’t Sandy have a happier ending than the “happy ending” she gets? I’d rather see her get Dorothy’s part, or any part, or even a call back for a part, rather than “Oh well, she still sucks but at least she got a man.”  Boooooo!

Thanks!

Updated On: 9/17/18 at 03:40 PM

[ryankon]

Posted: 9/17/18 at 10:44pm

There is a serious problem with Tootsie that people are glossing over: it's distressingly retro in that this supposedly feminist tale is told thru a man's eyes.  Why are we so dependent on men to give us our feminist awakening?  At the time the film was made this was a more forgivable sin--but in 2018 it's bothersome.  Very.  All the good intentions in the world don't erase the fact that Tootsie relies on a man to give us our feminist awakening.  That's not cool...it just reinforces the fact that it's a man's world.  It's almost an ugly form of noblesse oblige.  

[Menken Fan]

Posted: 9/17/18 at 11:41pm

ryankon said: "There is a serious problem with Tootsie that people are glossing over: it's distressingly retro in that this supposedly feminist tale is told thru a man's eyes. Why are we so dependent on men to give us our feminist awakening? At the time the film was made this was a more forgivable sin--but in 2018 it's bothersome. Very. All the good intentions in the world don't erase the fact that Tootsie relies on a man to give us our feminist awakening. That's not cool...it just reinforces the fact that it's a man's world. It's almost an ugly form of noblesse oblige."

I get that, but I think since men have been primarily responsible for misogyny and repression of women throughout history, it seems important when men step forward and join the feminist fight. Yes, women are perfectly able to lead their feminist awakening, but it seems inspiring and meaningful when men help champion the cause also.

Plus, this is a comedy, and it wouldn't be as entertaining a story if it was about a woman who dressed as another woman to get a part... 

Updated On: 9/17/18 at 11:41 PM

[NYCblurb]

Posted: 9/18/18 at 1:18am

"TOOTS" scene from the movie TOOTSIE

https://www.youtube.com/watch?v=Ch57pIuYhbM

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

[NYCblurb]

Posted: 9/18/18 at 1:20am

There is a serious problem with Tootsie that people are glossing over: it's distressingly retro in that this supposedly feminist tale is told thru a man's eyes. 

 

YOU MUST BE DEAD INSIDE

[John Adams]

Posted: 9/18/18 at 2:09am

ryankon said: "There is a serious problem with Tootsie that people are glossing over: it's distressingly retro in that this supposedly feminist tale is told thru a man's eyes. Why are we so dependent on men to give us our feminist awakening? At the time the film was made this was a more forgivable sin--but in 2018 it's bothersome. Very. All the good intentions in the world don't erase the fact that Tootsie relies on a man to give us our feminist awakening. That's not cool...it just reinforces the fact that it's a man's world. It's almost an ugly form of noblesse oblige."

I haven't seen the musical yet, but you also refer to the film... The film is not a feminist tale. More than anything, it is about being an actor in New York City. A male actor in New York. Anything that Michael learns about women in the movie version comes purely out of his primary need: to be a working actor.

His discoveries about what it's like to be a woman are strictly coincidental; his primary focus is NOT about exploring what it's like to be a woman. His focus is on acting only.

If he had decided that auditioning as a dog would get him work, the film would not be an "animal rights" movie. It would still be about an actor who cares more for his craft than anything else. Because of THAT first love, and THAT passion, he ultimately evolves.

Even the "feminist" stances in the film are meant for humor - not to educate an audience. Best example? When Jeff comes home and finds Michael/Dorothy fending off Van Horn's advances. After Van Horn leaves, Jeff calls Michael a slut and Michael responds with a comment about rape. In the 80s, that situation and the line were humorous -- very different now, though.

Tootsie is about a male actor who delves so deeply into his craft and his character that his work ultimately informs his personal life. Notice that it's specifically his life that receives the benefit of learning - not ours as the audience, nor the lives of the female characters in the movie.

In the movie, when Julie tells Dorothy that she's been so inspirational in her life (at the point in the plot where she's going to tell Ron that it's over between them), Dorothy/Michael freaks out a bit, and tells her she mustn't idolize her(/him) in that way. He freaks out because he knows that he is a "false idol", and it makes him very uncomfortable that Julie would put him on a pedestal.

BUT... it's Julie who made that decision on her own. Dorothy never suggested or advised her to do so. The only person Dorothy does advise is Ron. She tells him "I know you better than you think I do" (or something to that effect). The only time(s) Dorothy gives advice, or attempts to "teach a lesson", it is, in reality, a man speaking to another man.

Updated On: 9/18/18 at 02:09 AM