Jarethan said: "cryan71 said: "Jarethan said: "ljay889 said: "It’s an excellent show. The bad word of mouth stems from a group of people who somehow convinced themselves that the show is “transphobic.” Many of them likely have not actually seen the show."
That is not true in my case. My problem with the show is attributable to four things: ROTTEN SCORE, mediocre direction, mediocre choreography (but I do assume that it must be very difficult to choreograph to such lousy music), and cheesy sets. I loved the book scenes and would have preferred a straight play to what we got. I absolved the performances, although I have to admit that I found Michael's charactereven more annoying than the movie Michael.
I have no issue with the premise and personally feel that someone needs to get a life if they are not enjoying a light musical comedy because of some transphobic issue. It is based on a classic movie that was a monster hit in its day. End of discussionfor me."
I like the score. I've listened to it many times now on Spotify. I think it works within the context and as a function of the show. And there are some wonderful moments "what's going to happen" "there was john" "unstoppable," and "the most important night." Also "whaddya do" is a wonderful anti "I want" song. The score structure is very traditional and the songs are subtle. Not sure your specific complaint, but it grew on me after multiple listens.
Also, the cheesy choreography is intentional because it is supposed to based on a hack director/choreographer who is the main foil to Michael. Same for the cheesy "opening number" song that Michael stops because he has created a preposterous character arc as "man who walks by." I thought that was clear. I think you missed the point.
Why do I want to pay hard-earned money to see multiple production numbers with intentionally cheesy choreography. I have to ask what it the difference between intentionally cheesy and unintentionally cheesy from the perspective of the audience? It is still cheesy. A two-minute bit making fun of bad shows is one thing; every number is another. The music part of the show made me long for the mediocre 1960's musicals...at least you detect a pleasant melody."
what Jarethan said. i think i was able to follow Tootsie just fine (i love how the new response to criticism of preferred shows is "oh you just didnt get it..."
, and the repeated big tuneless numbers were a slog when i saw it (admittedly, early in previews). Was that number Lilli Cooper sings in that random performance in a bar meant to be making fun of a bad show? There were just a few too many speedbumps during an otherwise funny evening.
Overall i LIKED this show- writing is by far the most important, in my opinion, the book was fantastic especially for an adaptation of a classic. I said then, and I say again now, that a simplified, edited version (or even a straight play) in the Booth or Golden would have made all the difference, esp from a ticket sales perspective. To grab the Marquis the producers clearly thought they had a bigger hit than what materialized.
