TOOTSIE Reviews — Page 6

Cora Hoover Hooper said: "How is John Behlmann in this show? He looks so adorable."

I LOVED him in his role. IMO, he's not getting enough mention in the reviews.

The way the role is written, an actor could very easily make the choice of playing Max as a 2-dimentional, comedic "himbo". I didn't see that onstage. 

It's been a very long time since I saw the show, and I could be suffering from romantic memory alterations - 'cause I also found him "adorable" - but I remember him as playing Max as a person who was self-aware of what his limitations were (CAN'T act!) as well as knowing what makes him successful (his body), and deliberately capitalizing on his strengths. The opportunities he takes to capitalize on showing off his body is what creates the humor of his character.

He also sees an opportunity to better himself as an actor after meeting Dorothy, and makes attempts to convince Dorothy to be his acting coach. That's scripted, and not so much an acting choice, but still moves outside of the "himbo" box.

[EDIT: I also think that when the rights are made available for amateur productions, there might be a danger in casting a body, over an actor like Behlmann. In a lesser actor's hands, Max's constant attempts to remove his clothing (instead of acting) could come off as 'desperate', or 'pathetic'. Again, I never saw that in Behlmann's performance.]

I wish Behlmann was getting an equal amount of mention as his co-stars. I think he deserves it.

Updated On: 4/25/19 at 12:35 PM

dramamama611 said: "CT2NYC: That's the way I felt about many shows this season: The Prom, Head Over Heels, Beetlejuice....sigh."

We'll have to agree to disagree about The Prom. It's still my favorite Broadway musical this season.

I went to Tootsie Monday evening and I had such a good time.  I really needed some good laughs and this show did it for me.  I agree the score was serviceable.   But the book was hilarious and I loved all the principal cast members.  I see some of you feel a need to compare it to other shows.  And if that is how you get your satisfaction.. well then that is too bad.  The audience was having a great time.  The show  in my opinion got much deserved praise from the critics.  I say it is a welcome hit that will bring much joy to many.  I saw Hadestown, Yiddish Fiddler, Tootsie, Kiss Me Kate, and Beetlejuice.  And with the exception of the last one.. they all add a good variety of choices for this seasons theatergoers.   

Thanks for all the John Behlmann updates!

I suppose they have a melody and somewhat of a song structure, however, there are a few songs in this show that seem to just be stream of consciousness and the song never really goes anywhere. Lilli Cooper's song in the park for example. I can't recall there being really a "song" there. She just kind of sings to a basic melody that doesn't go anywhere musically. While I do agree that Yazbeck attempts a "conventional" score (if that's what we're calling it), he ends up trying to mimic "old broadway," but really just ends up with a beige and unmemorable score. The couple of strange, very Yazbeck songs like Stiles' audition song, "Fcked it up," and "Gone" that are great, but all of his attempts at a traditional, conventional sound fall completely flat. He's written several songs with a very loose song structure that flounder around for a while and then end abruptly. His lyrics are consistently great however.

As for the cast album, I think Yazbeck scores tend to deepen with each listen, but I'm not sure that will be the case here. Unfortunately, I just don't think there's all that there, musically. Someone seems to have had the idea that this needed to be a classic musical comedy, but the moments that are the best are the more contemporary musical comedy moments.

I just think this is a shockingly weak score for Yazbeck.

Lilli Cooper's song in the park for example. I can't recall there being really a "song" there.

One of my favorite earworms from the score.  You'll feel differently when you hear it (and the rest of the score) more than once.

He's written several songs with a very loose song structure that flounder around for a while and then end abruptly.

Which ones?  If you mean There Was John, Who Are You and Talk to Me Dorothy, the song structures aren't actually "loose" at all.  They just end quietly, which is appropriate for the scenes in which they occur (not unlike My Crazy Heart, Islands, Mother's Day and Invisible from Women on the Verge).  This really isn't anything new or unique to a Yazbek score.  

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What I really love about Julie's song is how fitting the music is to the scene. She relays her tale with acceptance and a bit of resignation and complacency. It provides the foundation for her character and Dorothy's relationship with her. I find it to be extremely thoughtful and intentional. I honestly don't know how anyone could find the score "tuneless", but the same has been said of Bernstein and Sondheim, so I guess Yazbek is in good company.

Yes, I love the score and I enjoy discussing it. I'm glad that was clear to you and not ambiguous. It's not my intention to confuse anyone.

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DAME said: "GeorgeandDot said: "I think it's clear that you love this score, Matt. Count me among those that found the score totally tuneless. This is not a typical David Yazbeck score. It feels a bit like he phoned this one in.

I agree that Julie's park song felt shockingly uneventful. I found myself thinking constantly that the songs were plodding along without going anywhere."

Can everyone agree to disagree and not continue repeating the same things over and over ? It just makes the thread so boring."

 

Then there would be no message board threads.

 

from Carol 

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Boo, boo, TOOTSIE, GOODBYE!!!!

 

What a big steaming pile of Doo-doo!

 

Broadway continues it's habit of killing beloved movies by adapting them into lackluster, overstuffed exercises in excess and bad taste.

 

There's NOTHING about this latest project that reflects the charm and cleverness of the movie.  Really, why bother, other than making profit out of the name alone?

 

Changing the story from a soap opera background to a Broadway show background may seem great on paper (especially for a Broadway show) but here it only served to serve up several stupid, boring, banal numbers and a plot that creates major meh and loud snoring in the audience.

 

But the major fault in these stars is that the audience doesn't care about ANYONE!  Michael is a narcissistic nudge, Julie is a miscast, confused egotist, Jeff is just plain creepy, Max is beyond charicature - only Sandy is redeemed by quirky endearment and the best song in the show.

 

And this reworked plot just doesn't work.  It's not interesting, and, again, not charming, and at times it's downright confusing and exhausting.  Songs are forgettable as we're hearing them.

 

Choreography is negligible and <<edited by BWW staff>>!  As should the Producers who approved this rot.  GET RID OF DOROTHY'S FIRST BLUE DRESS!!!!  ABOMINABLE!

 

Gee.  D'ya think I was disappointed?

 

 

 

 

 

Updated On: 4/26/19 at 12:08 AM

TOOTSIE was delightful: funny, bright and witty as a musical comedy should be. It's the antidote to BEETLEJUICE.   Fontana, Cooper, Stiles, Rogers, Halston and Behlmann were all adept performers and I truly liked David Yazbek's score, which reminded me in spots of his WOMEN ON THE VERGE  score, which I also greatly admired.  Admittedly, this was a weak season for Broadway musical comedy, but TOOTSIE and THE PROM were the saving graces.   

"Hand Santino the Tony Dorothty would have gotten!"

http://www.newnownext.com/tootise-broadway-review/04/2019/