TOOTSIE - Chicago tryout- Page 8

[Ravenclaw]

Posted: 9/18/18 at 2:14am

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."

One thing that the musical strives to make very clear is that this is the story of a man discovering how hard it is to be a woman. At the beginning, Michael is an egotistical man who believes that nobody has it harder than himself, but by walking in another person's shoes (literally), he learns the difficulties that women face on a daily basis (like the casual misogyny of being called "Tootsie," for example), and the experience strengthens him and forces him to grow emotionally. The story is a man's journey because it is about what men can learn from women. The women already know what it's like to be women, whereas Michael has to learn this lesson, so we watch the story of him learning and growing.

By all means, bring us more female-centered feminist stories, but I think you're wrong if you really think there's no place in the pantheon of feminist stories to include the stories of men joining the fight to support women. And, for what it's worth, Michael/Dorothy never becomes a "male savior" figure--the female characters in Tootsie are full of agency and power.

And while we're here, we might as well... I'll just say that I don't think it's productive to talk about gender in Totosie in purely binary terms. While the film and the show both make it clear that Michael identifies as a cisgender, heterosexual man, half the project of the text is questioning the gender roles we put on ourselves and each other. That questioning of the binary and of strict gender roles should come from all points on the spectrum, and it does come from all characters in the show and the film.

In order to create the most satisfying emotional arc, Tootsie centers on a protagonist who is at the beginning further than anyone else from the questions the story focuses on, making it a more powerful confrontation. That character who is unfamiliar with the experience of being a woman is inevitably going to be a cisgender, heterosexual man. That is not misogyny, that is creating emotional stakes, obstacles, and character development, all essential parts of good storytelling.

[BalconyClub]

Posted: 9/19/18 at 12:14am

There were so many good changes at the Tuesday Sept 18 preview, I need to order a Cowboy IPA from Off the Bone to remember it all.

Sarah Stiles returned as Sandy Lester. Understudy Leslie Donna Flesner - also fine - had portrayed Sandy on Saturday and Sunday.

Michael Dorsey had a better line when dying at an audition.

Quiet music was added beneath Michael's birthday party scene.

At the New 42nd St Studios, Dorothy did not greet the two authors of Juliet's Nurse.

LOVED the new blocking of Rita Marshall's NONE OF IT MINE line.

Ron Carlisle's quiche retired its egg joke and a cheese line has returned.

Stan Field's exit line was said INSIDE the apartment.

Maybe because of a few inadvertent dropped hats last week, the appearance of a second hat has changed.

The ensemble number THIS IS THE GREATEST DAY OF MY LIFE smartly added Max Van Horn, Rita Marshall, and Ron Carlisle. This was my favorite improvement of the night. Bravo!

The Legacy Robe's 25 second appearance has been reduced to 10.

Michael had several new lines tonight. Perhaps to enhance his relationships with Sandy and Julie.

Julie's BRAVE reference was possibly axed.

Merch debuted $30 black baseball caps and $25 red aluminum water bottles.

Meanwhile, tonight's appreciative audience laughed and applauded at new junctures. This too was satisfying.

[BroadwayConcierge]

Posted: 9/19/18 at 12:45am

BalconyClub, I just wanted to thank you for taking the time to note these changes from performance to performance! It's fascinating to read what kinds of initial tweaks are going into this show. Your attention to detail is appreciated.

[scribbler23]

Posted: 9/19/18 at 11:30am

Longtime lurker, first time poster...We saw the show on Sept. 18th.  I thought it was pure joy with some work needed.  I didn't mind all the laughing stopping the show; the one-liners were great, and it's nice to have something to laugh at these days.  I will say it's the rare musical where I left thinking about the dialogue and not the music; the score was serviceable but not memorable.  I think they've done a wonderful job of updating this in the MeToo era; it did not seem as if I was being lectured at by a male about female empowerment.  However, that said, there were some things missing in Michael's journey to me.  He wasn't shown being as terrible to women as he needed to be, to make the line about how he was a better man, as a woman, with Julie as he'd ever been before really resonate.  He--as Dorothy--also wasn't shown being mistreated by men, the way he is in the movie.  Not enough, anyway, other than that quick, almost throwaway line about never being called by her name by the director.  And the director, too, wasn't really bad enough, in his treatment of women; I understand this is a different era than when the movie was made but still, he has to really be very predatory or at least icky toward Julie to make this work, and he wasn't.  Julie never seemed to be mistreated by any male in the cast; the picnic scene was very mild, I thought, and could have gone much further toward establishing how hard it is to be a woman in show business.  

I loved both actresses - Sarah Stiles and Lilli Cooper; they are terrific!  But their roles are underdeveloped, particularly the role of Sandy; she's hysterically fun but it's a one-note performance because it's written that way, and I didn't like her ending, being saved by a man.  And Julie, too, is underwritten and I wonder why they didn't give her a child to support, as she did in the movie?  It would have added necessarily layers to her character.  Her song in the club near the beginning of Act 2 was terrific but did nothing to further the show.  She needs something better, more character-driven.  

Andy Grotelueschen as Jeff was perfect!

And Santino was amazing, a true star.  However, I really hope they work on his big reveal; as it plays now, it's flat, unsurprising, no tension, nothing at stake.  There's no energy; he just stands there basking in applause and starts making this awkward speech.  I really feel the reveal should be in a song, perhaps a number from the show-within-a-show, so you can see the actors reacting, horrified, and still having to acknowledge that there's an audience out there?  Something to make the audience sit on the edge of their seats and wonder what kind of train wreck is going to happen.  Again, in the movie, the reveal does just that; in the play, it almost seems like an afterthought, tacked on to the end of a scene.  It needs something much bigger.  

But I think it's really on a terrific path; like most shows it needs to work on Act II more than Act I, as Act 1 just builds and builds and builds and Act II just doesn't go that far, emotionally.  Although I loved the song that opens Act II!  I can't wait to see what they're going to do with it; it's going to be a big hit after some work on the second act.  

 

Updated On: 9/19/18 at 11:30 AM

[Broadwaygirl202]

Posted: 9/19/18 at 7:09pm

Loving all the positive feedback so far! Seeing it Friday and I cannot wait! Question about the merch. I’m debating on getting the sweatpants. Are they men’s, women’s, unisex? Most shows don’t sell pants so I’m not sure what to expect when it comes to those. Also, does anyone have a picture of what the water bottle looks like? Lastly, I hope they change the artwork. I don’t like the updated version. I think they should do something similar to the movie soundtrack cover with Santino as Michael and Dorothy side by side or something similar. Will reports my thoughts once I see the show. 

[Call_me_jorge]

Posted: 9/19/18 at 7:27pm

Won the lottery for tomorrow nights performance. Can’t wait to see it! Sounds like it’s going good so far, for a tryout. Does anyone know if Santino has been signing and taking pictures at the stage door?

[anislander]

Posted: 9/19/18 at 7:35pm

Call_me_jorge said: "Won the lottery for tomorrow nights performance. Can’t wait to see it! Sounds like it’s going good so far, for a tryout. Does anyone know if Santino has been signing and taking pictures at the stage door?"

I went on second preview and he did not come out. 

[Keiichi2]

Posted: 9/19/18 at 7:43pm

I'm seeing the matinee on October 6, and my ticket came with Suite Service included.  Has anyone tried this?

[gleek4114]

Posted: 9/20/18 at 12:09am

Call_me_jorge said: "Won the lottery for tomorrow nights performance. Can’t wait to see it! Sounds like it’s going good so far, for a tryout. Does anyone know if Santino has been signing and taking pictures at the stage door?"

Based on photos while scrolling through the #tootsie tag on Instagram, it looks like Santino hasn't been signing. But Lilli Cooper and Julie Halston definitely have been.

[BalconyClub]

Posted: 9/20/18 at 1:48am

A word or two about Tootsie's September 19 show:

At the Act 1 audition where Michael Dorsey is dying, he offered a new CAREER retort. This is at least his 4th response to his death in ten previews.

Michael remained downstage before this scene, with a new quick glance at a smart phone.

Later in the apartment, Michael's line THAT'S WHY BROADWAY IS SO GREAT changed one key word.

When the apartment scene changed to the New 42nd Street Studios, a few new seconds of music played. Perhaps the few notes exist as a cushion if the scene change drags, but the brief stanzas did not sound like a vamp.

Since previews began, the scene changes have been elegantly smooth - excluding the faulty trap door on the 13th. Several scene changes utilize the practice of having one or more characters on stage to tie one moment to the next.

At the auditions tonight, a different vocalized sample was sung by Actress #2.

The authors of Juliet's Nurse WERE introduced to Dorothy.

When Dorothy's tender anthem I WON'T LET YOU DOWN reached its last few words, she was more reserved with arm and hand gestures.

Dorothy dissed Max's INSTINCT instead of his TALENT.

In Act 2, in Julie's apartment, Ron Carlisle spoke new lines to Julie about his dad, a failed magician.

Previously, Carlisle had coasted in to this scene on Julie's petite sofa. Tonight, he was already standing when the scene opened.

The Stan Fields line HE SHE OR WHATEVER BATHROOM was removed.

The biggest change tonight occurred in THIS IS THE GREATEST DAY OF MY LIFE.

The GREATEST DAY lyric changed first to IMPORTANT NIGHT then later to GREATEST NIGHT.

Choices make good stories.

Elsewhere, the lobby boutique had a new item. White coffee mug with red lettering. $20.

John Behlmann (Max Van Horn) sported a new haircut.

A main floor ticket holder SNEEZED during the silent Act 2 opener. A courteous BLESS YOU followed.


 

Updated On: 9/20/18 at 01:48 AM

[bk]

Posted: 9/20/18 at 1:55am

I'm sorry, but I'm endlessly curious - is it your intention to see every performance of this show?  Is this your "thing", what you do?  

[BalconyClub]

Posted: 9/20/18 at 2:25am

No worries. I am megabussing roundtrip to Indy Sat and Sun, so will miss 4 performances.

[LimelightMike]

Posted: 9/20/18 at 2:23pm

Random inquiry here...

Is there an orchestra pit for this production? Curious because the Marquis is selljng Row A, but have AA and BB greyed out for the Broadway run. Any insight appreciated. 

[Call_me_jorge]

Posted: 9/20/18 at 4:06pm

From pictures of the run in Chicago, they are using the pit.

[schmoe]

Posted: 9/20/18 at 4:59pm

Yes, there is definitely an orchestra pit in Chicago.

[Call_me_jorge]

Posted: 9/20/18 at 9:06pm

At the show right now and they actually just had to stop the show due to a technical malfunction with the lift that brings up the bar. Santino and Andy were really fun about it. Hope the issue gets resolved quickly.

[BalconyClub]

Posted: 9/20/18 at 11:57pm

The faulty trap appeared in the Act 1 transition between the New 42nd St Studios and the On The Bone bar/restaurant. From my balcony seat, it did not appear dangerous.

Dorothy noticed that the bar had not surfaced. She peered into the stage floor, and within a few seconds, Jeff and the bar arrived.

"Hey," says a surprised Jeff, toweling off a piece of bar ware.

A calm off-stage voice states "We're gonna double check the lift. We'll be back with you shortly."

The production's red curtains closed.

A brief delay - it felt like maybe 8 or 9 minutes.

"Thank you for your patience," is announced. "We're about to resume."

The scene began.

As server Jeff approached Dorothy's table, Dorothy ad libs "Before we start, I first have some questions about your service!"

[Call_me_jorge]

Posted: 9/21/18 at 12:19am

Absolutely loved the show! So funny, but so creatively put together. Like it wasn’t just some hack job with puns thrown in there every now and then. It seems like the cast is still getting used to the dialogue, because at one point in act 2 Andy and Sarah broke character and started giggling.

BalconyClub what were the major differences tonight from previous performances?

Updated On: 9/21/18 at 12:19 AM

[BalconyClub]

Posted: 9/21/18 at 1:21am

I admire the writing and direction of this show. Several new lines appeared tonight. Some former lines returned. The team is seeing what works.

In one of Michael's short Act 1 auditions, he argues with a director.

"You want me to move downstage while the character is dying!" Michael bellows.

In previews, Michael has continued,

1. with no other line

2. "of bone cancer!" - said tonight

3. "the only thing dying is YOUR career!"

4. "the only thing dying is the legitimacy of theatre!"

Tonight at Michael's birthday party, there were new texting lines between Michael and partygoer Amy.

Agent Stan Fields had new lines in both Acts.
Lost. Whales. Yellow. Another well placed expletive.

Dorothy's beautiful hand and arm gestures returned in I WON'T LET YOU DOWN.

Dorothy's INSTINCT diss of Max Van Horn returned to TALENT.

Dorothy shortened her explanation of MOUSTACHES with Julie.

Midway through I LIKE WHAT SHE'S DOING, Rita Marshall was placed downstage, ahead of the two authors.

New staging tonight - and I don't easily recognize when choreography changes - of the 4 women when changing dresses during a rehearsal of Juliet's Nurse.

The tedious changes had been done one at a time since the first preview. Tonight, the quartet of dresses changed in unison. It made for a bigger WOW.

In Act 2 in Julie's nightclub scene, the back up trio entered quietly. In earlier previews, the trio SANG during their entry.

THE MOST IMPORTANT NIGHT OF MY LIFE continues to be a showcase of many moving parts.

On Dorothy's dressing room table, the wig head and small mirror had swapped positions.

At the end of the opening night performance, Rita Marshall appeared with a MICROPHONE. She asks Dorothy to say a few words. Dorothy's anguish was much more pronounced with the hand held mike.

Later in the apartment, Sandy had new lines, and may have tripped or reversed some of the words, yet it worked cause it was Sandy! The orchestra joined the frivolity playing catch up








 

Updated On: 9/21/18 at 01:21 AM

[NYCblurb]

Posted: 9/21/18 at 12:16pm

Your change notes, are impressive. Wow. I saw it again last night, and noticed the "I have a client who is in love with a balloon!" had gone away. I missed that though. Pacing most def has tightened.

Some underscore here and there pads nicely. I think Jeff and Stan characters are becoming rather thrilling. I want more on the reveal, a song maybe w/ Julie or company or ??? It feels like a rich funny date that ends with a premature kathunk.

A solid B+ I think right now. A thrilling out of town try out in my book. Perhaps the best out of town I have seen since COME FROM AWAY in La Jolla. Very different shows, but the bones in each town while working with the material was incredibly satisfying and structurally sound. 

Yazbek's lyrics/music -- VERY compelling. I think his best ever. Horn's book is honestly, so thrilling to hear as the words trickle out on stage, that I just got tickets to see once more this weekend as I want to HEAR HORN again. 

I do want more for Julie Halston, but I can't get enough of her EVER. So that's my problem probably.

The supporting cast has been written and is performed so delightfully, that I want more from all of them. No throw aways in this supporting cast.

I have not laughed at the theater this hard, since Peter Schaffer's Lettice and Lovage with Maggie Smith and Margaret T back in the early 90s. (https://en.wikipedia.org/wiki/Lettice_and_Lovage)

Movement is good. I like ACT I end, especially from a choreography POV. 

This #Tootsie is pretty ****ing good. 

Updated On: 9/21/18 at 12:16 PM

[NYCblurb]

Posted: 9/21/18 at 12:25pm

We will miss you terribly.

[kishane]

Posted: 9/21/18 at 4:19pm

I saw the show yesterday not knowing anything about it, and I came out of the show wanting everyone to go see it! I was a bit worried when it started because I only attended this show because I had joined the subscription this season, but I'm really glad I saw it now. For some reason the cantonese baby line cracked me up, Jeff was the best.

Pros
-Super hilarious - the best friend, the agent, and the producer were awesome. I wish they had bigger parts - the you ****ed up song was my favorite
- All the lovely costumes!! There were so many costume changes in this show.
- Everyone's singing was lovely While you can't be on Broadway without being a good singer, with the singing/talking that most musicals have, sometimes it's not about the voice but how you deliver the lines lyrically. It's probably due to the musical where it lends itself to that kind of singing flourish.
- I'm really amazed actually at Santino singing as a "woman" since it doesn't sound unbelievable.

Cons
-I didn't enjoy Sandy. =( sorry, I thought her neurotic song went on too long in the beginning (10/20 seconds shorter would be great) although the 2nd time it was used for good effect for laughs. I wish there was something more to done about her. Agree with other comments that she shouldn't get hre epiphany because she got a man.
- the 2nd act wasn't as good, agree again with others that the big reveal needs more tension or a song as up to that point there was so much talking (the entire dressing room scene etc.), and then it delves into more talking.
-Music not memorable, I can't hum a single line/bar versus how I felt when I came out of other musicals (usually there is 1 standout number). I also didn't feel a need to look up the soundtrack.

The moving elevator? got stuck during the show and while Jeff and Santino were going to just roll with it there but I guess the staff thought it warranted another look as it is used so much in that show. Up to that point I was still a little meh about the show, but everything afterwards was awesome.

I'm also really sad that most of my section was empty (was in uppermost balcony, and the 4 rows below me were all empty from the center to the right. Some people in that section moved down a section as there were empty seats there as well). The center was nicely filled so hopefully word of mouth gets more people in.

[Br0adway]

Posted: 9/21/18 at 5:34pm

I didn’t realize I bought tickets for previews. Oh well! I’ll probably see it again after it opens anyway. Looking forward to April!

[Robbie2]

Posted: 9/21/18 at 7:02pm

kishane said: "I saw the show yesterday not knowing anything about it, and I came out of the show wanting everyone to go see it! I was a bit worried when it started because I only attended this show because I had joined the subscription this season, but I'm really glad I saw it now. For some reason the cantonese baby line cracked me up, Jeff was the best.

Pros
-Super hilarious - the best friend, the agent, and the producer were awesome. I wish they had bigger parts - the you ****ed up song was my favorite
- All the lovely costumes!! There were so many costume changes in this show.
- Everyone's singing was lovely While you can't be on Broadway without being a good singer, with the singing/talking that most musicals have, sometimes it's not about the voice but how you deliver the lines lyrically. It's probably due to the musical where it lends itself to that kind of singing flourish.
- I'm really amazed actually at Santino singing as a "woman" since it doesn't sound unbelievable.

Cons
-I didn't enjoy Sandy. =( sorry, I thought her neurotic song went on too long in the beginning (10/20 seconds shorter would be great) although the 2nd time it was used for good effect for laughs. I wish there was something more to done about her. Agree with other comments that she shouldn't get hre epiphany because she got a man.
- the 2nd act wasn't as good, agree again with others that the big reveal needs more tension or a song as up to that point there was so much talking (the entire dressing room scene etc.), and then it delves into more talking.
-Music not memorable, I can't hum a single line/bar versus how I felt when I came out of other musicals (usually there is 1 standout number). I also didn't feel a need to look up the soundtrack.

The moving elevator? got stuck during the show and while Jeff and Santino were going to just roll with it there but I guess the staff thought it warranted another look as it is used so much in that show. Up to that point I was still a little meh about the show, but everything afterwards was awesome.

I'm also really sad that most of my section was empty (was in uppermost balcony, and the 4 rows below me were all empty from the center to the right. Some people in that section moved down a section as there were empty seats there as well). The center was nicely filled so hopefully word of mouth gets more people in.
"

 

The Palace is beyond huge and stunning with a capacity of 2344

[Browneyes142]

Posted: 9/21/18 at 8:06pm

I'm pretty sure that line about the balloon was still in there. I haven't seen it before last night and it sounds like something I heard although I couldn't swear to it.

It was more than giggling, they were full-on laughing. And I loved it. That's why I love life theater. No show is the same and I love being there when something small like that happens. If they laughed through the whole show and we're being unprofessional, it would be totally different. But I love that even people this awesome still mess up sometimes and it just makes me remember that I'm getting to see a live moment that won't be repeated in exactly the same way.

I will miss your comparisons this weekend because I'm especially curious what things they tried last night but they decided wouldn't work and change again.

Yes there are some issues I have with the story in general, those won't change But it doesn't keep me from enjoying the show. I had a grin on my face throughout the entire thing and there are several times I was laughing so hard I almost cried.

In general, I love David yazbek's music. I was expecting more from it but I still enjoyed it. I also think Sandy's first song could be trimmed down a little bit and still be effective. I do love though that every time it returns they cut her off.

My favorite character is Jeff. Bar none. and I love his song but just in general, he has the best lines And he does a perfect delivery. I do think that they could also tighten up the time a little bit at the beginning of the second act before he starts the song. I think the staring in shocked silence bit went a bit too long.

All in all, I came in expecting issues due to the nature of the story and due to the disappointment of a number of the recent musicals made from films. I came out Pleasantly surprised and full of joy.