TOOTSIE - Chicago tryout- Page 9

[kishane]

Posted: 9/21/18 at 9:15pm

I definitely heard the balloon line as well but I didn't find it funny, it didn't come across well. I hope the diaglogue there is tweaked as it came off more about the desperation to cross dress to get a part where I found the more egregious part is where everyone held Micheal up as a role model that older woman could get romance and roles too and... Of course it's a man. I agreed about the pauses (and the door being pushed too slowly), they ran a beat too long but the audience was still laughing a bit (maybe because we were expected to still laugh)?

[Browneyes142]

Posted: 9/21/18 at 10:56pm

I also thought the balloon line was the weakest in the bunch. No pun intended as I'm rereading that sentence. anyway,

I meant to say that I did enjoy the music, I just had such high expectations that they fell short.

My problem with the entire premise, and yes I know that this will not change, is that no one can stand to work with him as a man but when he became Dorothy, even though it was a large part because of the woman producer, suddenly, he got his way about everything. I know that this is not original and I also that the stakes needed to be higher. If she was just another actor, it would not be such a big deal for her to come out as a man. It just bugs me.

[BalconyClub]

Posted: 9/22/18 at 1:12am

At the Friday, Sept 21 preview, Michael's first moustached audition happened immediately center stage when the Manhattan drop lifted.

In past previews, Michael had walked in from the wings.

In audition 2, the HOW WILL HE DIE TONIGHT suspense was fully replaced by Michael as a little capped boy.

"Mommy! There's something wrong with Biscuit!"

At the picnic, Ron Carlisle did NOT tell Julie that she had been beautiful at rehearsal.

Thursday night, Stan Fields said he knew of a person who only likes the color yellow. Tonight, the replacement line was he knew a director who only faces north.

Stan Field's DATING A BALLOON line is still there, but may feel less caustic as it no longer is tied to a previous string of biting gender-identity one liners.

At the top of THE MOST IMPORTANT NIGHT OF MY LIFE, a patterned blue bedspread has been added.

In the beauty salon moment, the client now wears a SMOCK.

At the end of Act 1, Dorothy's yellow COAT was definitely a shade of PURPLE.

Michael nearly slipped on his floored dress tonight while stripped to his unmentionables in his apartment,
"Oh God, I just bought this!" Michael ad libbed.

Closing bows were lovingly updated. The ensemble now twirls in three sets. They then form a line and split in the classic middle.

Up until tonight, only Lilli Cooper then Santino Fontana had walked through the middle arc of the cast.

Tonight, six more were treated to the honor:
Michael McGrath, Julie Halston, Reg Rogers, John Behlmann, Andy Grotelueschen, and Sarah Stiles.

Updated On: 9/22/18 at 01:12 AM

[adagio]

Posted: 9/22/18 at 9:03am

Won the lottery for Friday night - got tickets in Row D off to the left. Great view, but being directly in front of the speaker resulted in a less-than-ideal sound experience (the pit seemed over-amplified in relation to the singers, and the whole thing sounded a bit muddy).

While the music didn't stick in my head, it was perfectly serviceable. Reminds me of when I saw War Paint at the Goodman - liked the show but wouldn't buy the cast recording. I also strongly agree with whoever said the opening number either needs to be clearly a joke or something stronger - as it is now, I was starting to wonder what I got myself into for a bit there.

Santino Fontana was excellent, as was Lilli Cooper and the actors playing Sandy, Jeff, and Craig(?) - forgive me, I don't have the Playbill in front of me at the moment. Still no song list in the Playbill btw.

The speech Michael gives about how much strength it takes to be a woman came across as a little preachy to me, but many in the audience ate it up.

[Browneyes142]

Posted: 9/22/18 at 10:42am

I agree about wondering what I've gotten myself into with the opening number but I get why they don't want it to be so bad that you know it has to be the rehearsal.

[Browneyes142]

Posted: 9/22/18 at 10:43am

(Jauntily sings) "Oh yes it takes a woman..."

[kade.ivy]

Posted: 9/22/18 at 1:57pm

Super excited to see this next weekend! Any estimates of current running time? Trying to plan train schedules back..

[BalconyClub]

Posted: 9/22/18 at 2:34pm

Small changes. The Megabus Edition.

Halfway to Indy southbound on I-65.

My memories of the past 4 Tootsie weeknights include a small handful of additional minor changes.

Carl the stage manager is now atop Juliet's staircase singing a brief line from his clipboard.

Carl also now has small gospel-ish notes at the conclusion of THE MOST IMPORTANT NIGHT OF MY LIFE.

In that same number, one of the female ensemblists is deciding between 4 outfits. She only had 2 choices the first week.

In Act 2, more Dorothy clothes appear in the apartment's front room closet.

Julie Nichols has more tender lines with Dorothy in the dressing room scene.

At Friday's show, the flourish music that once started the fantasy montage was absent.

Ticket sales are strong for today's and Sunday's matinees.

Act 1 has been running 1:20, a 15 minute intermission, then 1:02 second Act.

I've witnessed a few Metra riders duck out a few moments before the final scene.

[kade.ivy]

Posted: 9/22/18 at 2:56pm

BalconyClub said: "Small changes. The Megabus Edition.

Halfway to Indy southbound on I-65.

My memories of the past 4 Tootsie weeknights include a small handful of additional minor changes.

Carl the stage manager is now atop Juliet's staircase singing a brief line from his clipboard.

Carl also now has small gospel-ish notes at the conclusion of THE MOST IMPORTANT NIGHT OF MY LIFE.

In that same number, one of the female ensemblists is deciding between 4 outfits. She only had 2 choices the first week.

In Act 2, more Dorothy clothes appear in the apartment's front room closet.

Julie Nichols has more tender lines with Dorothy in the dressing room scene.

At Friday's show, the flourish music that once started the fantasy montage was absent.

Ticket sales are strong for today's and Sunday's matinees.

Act 1 has been running 1:20, a 15 minute intermission, then 1:02 second Act.

I've witnessed a few Metra riders duck out a few moments before the final scene."

Great, thanks! Definitely don’t plan to sneak out: just curious which train I need to catch! 

Posted: 9/22/18 at 7:03pm

I went to the matinee show this Saturday and I feel like there were significant number of changes. This is my 3rd time seeing the show apologies if these have been mentioned.
Most importantly this is the greatest day changed to this is the most important day which was a change. I’m not sure if I like it. . They never said this is the greatest day at all. Also the beginning scene has TMNT bed sheets during that number.
I enjoy how Rita and Rob were added into previously ensemble roles I thought it was a good change.
There wes some added changes that I really enjoyed.
First in the beginning scene they changed it from the yelling and dying scene to Michael being a little boy with the hat and the voice being a director who he previously trash talked and it was him being called out.
There was a change in choreography in the opening number which was appreciated. And the previously mentioned changes of staging with Michael being out before the audition room falls.
When Sandy and Jeff talked at the party there were some added lines which were amusing and when Michael walks with sandy to the bedroom there is an underlying music.

In the scene with Sandy and Jeff after the reveal they changed the line to something along the lines “I’m going to ride you” over the original “how dare you”.
There were some minor changes in the first line of the “audition song” I believe.
The coat at the Act 1 ending is most definitely purple now.
Right before unstoppable when Dorothy is changing into Michael Jeff says something along the lines of “well that’s a change of boundaries”
Compared to the other shows I have seen the crowd energy seemed down in act 1 compared to the other nights and act 2 was much higher. That probably was due to it being a matinee. The bows were also similar to stated above where a lot more people joined the crowd of going through the middle
I thouroughly think there are still some parts to improve but I do it enjoy a good ton!

[Marlothom]

Posted: 9/22/18 at 7:30pm

I love this show! I have seen Pretty Woman, The Cher Show, Moulin Rouge and Tootsie is my favorite.  I am particularly impressed by the scene work - last night during some of the scenes I forgot I was watching a musical - most of the scenes in the apartment are so strong.   I hope that when they get back to New York they bring back some of the theatre inside jokes they have slowly cut in this run.  The gypsy robe deserves more time on the stage! More "Cassie" like moments in Unstoppable.  

[BalconyClub]

Posted: 9/23/18 at 11:52am

Angelica_loves_musicals said: "Also the beginning scene has TMNT bed sheets ..."

Aha!  Teenage Mutant Ninja Turtles. Thank you for the clarification.

[Blankments]

Posted: 9/24/18 at 10:43am

I saw this last night, and I really enjoyed it! It was my first Yazbek show, and I haven't listened to The Band's Visit or his stuff. A very funny night and I liked the music a ton. All four of the leads shine; Stiles really only has one song she reprises a lot but it's super funny and falls under the type of patter song I'm really into. Fontana is a force, it's definitely his show. I loved Lilli Cooper in SpongeBob and she stands out here even better. Grotelueschen is also very funny, even if he doesn't sing so much. Of the others, McGrath stood out the most to me in a fun character role. The set is very nice and slick and was definitely my favorite technical part of the show.

If there's one problem I had with the show, it was the ending though. After the reveal, it kinda just peters out with a very lackluster pairing-of-the-spares between Stiles and Grotelueschen and a simple bench scene between Cooper and Fontana. I wanted a big ending number or an epilogue of sorts because a lot of the plot threads are just dropped after the reveal (this might be an issue with the source material but theater is a different medium than film anyway), and the show as is ends insanely abruptly. It's a shame because besides those last twenty minutes, the show is really great, but of course I leave thinking about the ending. 

Still they have a while to fix it up before Broadway and the show is in good hands currently. Very funny with a nice jazzy score.

Updated On: 9/24/18 at 10:43 AM

[DrowsyKaye]

Posted: 9/24/18 at 12:49pm

Saw the 7:30pm performance last night (Sunday). A lot of thoughts spinning round my head. Apologies if this rambles on for a bit.

I'm pretty adamant about the fact that there should be a woman on the creative team for this show. Yes, it is important for men to create material that is grappling with their own inherent sexism. And yes, this is obviously a satirical show, and there are many instances (especially from the character of Jeff) where the show is essentially grappling with it's own existence (A paraphrased line from Jeff in Act 1; "At a time when woman are FINALLY getting the opportunities they deserve in the industry, you're going to do THIS?". The all-male team are clearly trying to put in the work to tackle the mountain that is "Making a Tootsie Musical in 2018."
But to put in all this work and not have ANY women writing the show, directing the show, in any major design position on the show...that says a lot, and is arguably a self-defeating point to this whole thing. Why make a show about tackling sexism and misogyny in the entertainment industry (and for all intents and purposes, that is the clear message of this show) when you aren't even putting in the work to have that presence on the creative team? This isn't even getting into the fact that the world as it stands now is working to break down the concept of a gender binary anyways, but that's a post for another day.

And the thing is, the show as it is is a VERY FUN TIME. It is definitely an out-of-town tryout (there's a lot of exposition to figure out in the first half-hour and they're still figuring out how to best to get it all across), and for every solid zinger, there are about 2-3 jokes you can see from a mile away. They'll figure those out.
The performances are phenomenal across the board, and ironically (ironically?, i dunno), I found the female characters to be the most interesting/have the most interesting songs (Sarah Stiles and Lilli Cooper walk away with this thing, they are outstanding). Santino is astounding and a sure frontrunner for the Tony, Andy Grotelueschen knocks his Act 2 opener (very much in the vein of Full Monty's Act 2 opener) out of the park, and John Behlmann has some of the funniest lines in the play ("Mistake. Mistake!!!!!".
David Yazbek's score is a lovely time. I'm still humming the "terrible" opening number in my head. I agree about the ending. It's far too abrupt and I honestly think Julie shouldn't be as quick to forgive Michael. I'm grateful that this is an out-of-town tryout, and I'm hopeful that they'll learn from this run and make the changes they need to to tighten it up.

But I truly hope there's SOME chance of them bringing on a woman between now and Broadway to work on the book/the direction/ANYTHING. Heck, a "consultant" credit, just some kind of authoritative female presence in the room. 

Is Tootsie a good musical? It sure as heck is it on it's way to be.
Is Tootsie the musical we need right now? I'm really not so sure.

Updated On: 9/24/18 at 12:49 PM

[eastcoasttheatre]

Posted: 9/24/18 at 7:43pm

'I'm pretty adamant about the fact that there should be a woman on the creative team for this show'; As a disabled person. Why does no one talk about disabled representation. Or are we not good enough?  to be at least equal to coloured , lgbqi , women and aged people?

[John Adams]

Posted: 9/25/18 at 10:43am

Here's something I'm missing from all the posts about the previews. (BTW, I'm hoping to see the show in Chicago toward the end of its preview run).

I know the movie very well. It's one of my favorites. In the movie, the character of Michael Dorsey is not a likable character - at least not to women. He first love is acting, and acting ONLY. He does some pretty self-centered things, and proves himself to be an ego-centric cad throughout the move.

Things like:

- He has no steady, romantic relationship with a woman.

- He has no qualms whatsoever about taking a role away from a woman. ...And not just any woman, but a woman who it seems he considers to be a good friend.

- He excuses the selfish action above by telling Sandy that he's doing it for her, so she can star in Jeff's play, but it seems obvious from other scenes that if he's being altruistic at all, it's for Jeff's benefit (because Jeff wrote the play) and for his own, self-serving purposes.

- In the birthday party scene, he hits on EVERY woman present, in the hopes that he can hook up with one of them, but is unsuccessful (mostly because the women see through his superficial come-ons, like the character Christine Ebersole plays in the film).

- Even when he decides to come clean at the end, it's not because he realizes how he's hurting people, but because he doesn't want to be contractually obligated to spend more time masquerading as a woman.

Even at the end of the movie, there can be doubt as to whether Michael and Julie will last as a couple because we, as the audience have yet to see how he will treat her as himself - a man who is still primarily focused on his career. 

At the end of the movie we can only see Michael and Julie at the very beginning of their relationship. We don't get the luxury of seeing how his time as Dorothy will effect how he will act differently as a man, in a male/female relationship, or if his time as Dorothy has changed his priorities regarding his work vs. his relationships with women. The movie's ending (perhaps somewhat similar to the musical's if I'm understanding what I'm reading) is not cut and dried regarding Michael and Julie as a couple. 

BUT - the movie has one (literal) note of hope. It's the song "It's Telling Me It Might Be You" that underscores throughout the film, and even more importantly, over the closing credits. That one song and its lyrics add the missing ingredient of hope that perhaps Michael has truly changed enough that he and Julie can be successful as a couple.

So far, I haven't heard that there is a song like that in the musical; something that Michael can sing to Julie on that park bench, with literally no other set pieces surrounding them, just the two them at the very uncertain start of their real relationship.

In a way, I think it will be smarter for all if the ending does not get changed or fixed by the end of the preview run. If that happened, there would be less to look forward to for the Broadway run - kind of like a spoiler before the show even opens.

I know I'm more familiar with the movie than the musical, and as I say, I'm hoping to catch one of the final previews. Those of you who have been following the previews so closely, I'd love to hear if you think my notions are incorrect regarding the movie vs the musical, and any other input.

Thanks for all the posts! (I don't mind spoilers)!

Updated On: 9/25/18 at 10:43 AM

[jbp1232]

Posted: 9/25/18 at 10:50am

eastcoasttheatre said: "'I'm pretty adamant about the fact that there should be a woman on the creative team for this show'; As a disabled person. Why does no one talk about disabled representation. Or are we not good enough? to be at least equal to coloured , lgbqi , women and aged people?"

I agree 100% that Broadway desperately needs more disabled representation, both on and off-stage, and very much needs to stop casting abled actors to play disabled roles. However, I think the qualm with this particular show not having any women in the creative team was that the premise of the show is a man believing his life would be easier as a woman. I hope there would be similar frustrations if there were a new musical about an abled person impersonating a disabled person for their own personal gains from a creative team made entirely of abled artists. 

[DrowsyKaye]

Posted: 9/25/18 at 11:00am

Thank you jbp1232, that's exactly what I was getting at!
I completely agree, eastcoasttheatre. I don't think there are enough opportunities/advocacy for disabled artists in theatre, especially musical theatre. We need more artists with disabilities writing/directing shows, and more work that is created in such a way that artists of all abilities are able to thrive and make the best work possible.

[BalconyClub]

Posted: 9/25/18 at 1:30pm

Today is Broadway in Chicago's monthly $25 on the 25th promotion for their Facebook followers. The sale ends at midnight.

Hundreds of $25 balcony seats are available. The discounted seats are mostly located above row J, though top rows RST are not discounted.

Performance dates: both of the Wed Sept 26 shows, as well as Thurs Sept 27, Sunday Sept 30, and Tuesday Oct 2.

Buy at the box office to avoid the Ticketmaster $15 service fee.

[TheSassySam]

Posted: 9/25/18 at 11:21pm

Saw the show a second time tonight. And much as it breaks my heart to say, the balcony was barren this evening. This may be due to the weather, Metra trains and last week being the end of the subscribers.

But the show was great. I brought my friend and she loved it.

I still believe there should be a better “musical comedy” ending. Something more extraordinary.

[BalconyClub]

Posted: 9/26/18 at 12:14am

Small tweaks at the Tuesday, Sept 25 performance.

At Michael's birthday party, his TEXTING lines with partygoer Amy have been removed. Instead, forgetting Amy's name, Michael calls her a goddess with angel-like wings.

At a rehearsal scene at the New 42nd St Studios, there has always been a brief choreographed moment when only the four women have their RUMPS to the audience. Now, the four men also have their rears towards the audience. It's tasteful, albeit a noticeable change.

Two unique LIVE THEATRE moments occurred tonight:

1. In the transition between the Studios and the park bench, Dorothy inadvertently held onto the long-stemmed rose.

"I should have left that at rehearsal," ad libs an amused Dorothy.

2. Later in Act 2, one of Dorothy's BRAS got caught in the blue plaid loveseat as Jeff was getting ready to fling the bra to Michael.

Back in Act 1 at the park bench, a new Dorothy line is ALL THE WORLD'S A STAGE.

Ron Carlisle's BEAUTIFUL reference about Julie at the park bench has returned.

There is a new 3 second musical interlude before Ron Carlisle arrives at his psychiatrist session.

Sandy and Michael's DINNER plans had new lines.

At the night club, the bartender now cleans the floor with a swiffer-shaped mop instead of a white bar towel.

A new complaint was voiced by Dorothy to Ron Carlisle: "I don't like that you still have a Blackberry."

STAN FIELD'S lines about whales and north were removed.

The massage table now enters its scene from the opposite wing.

Dorothy's dressing room CHAIR was noticeably HIGHER tonight. My guess is that her face needed elevated as the wig head on her dressing room table may have blocked her face from a few audience members in the premium sight lines.

Sandy has a new ENDING line.

Overall, the show is getting tighter. Act 1 is now running 1:15. It had been 1:20.

Act 2 had been running 1:02. Tonight, 58 minutes.

Tonight's performance was captioned.

[MadsonMelo]

Posted: 9/26/18 at 12:57am

No rush for this show or a cheap way to get a ticket?

[Call_me_jorge]

Posted: 9/26/18 at 1:04am

It’s VERY easy to win the lottery.

[MadsonMelo]

Posted: 9/26/18 at 1:10am

Call_me_jorge said: "It’s VERY easy to win the lottery. "

Digital ir in-person? 

My only date in Chicago is exactly the last performance (October 14), If I dont win the lottery, whats the best seat around $60-70? 

[TheSassySam]

Posted: 9/26/18 at 7:14am

You could probably get an orchestra seat on TodayTix for $60. Mine was Row D Center.