TOOTSIE the Musical: PREVIEWS START- Page 10

[SomethingPeculiar]

Posted: 4/16/19 at 11:17pm

One should not trust GoldDerby for Tony nominations. In addition to McGrath, they also have Jack O'Brien, Stephanie Hsu, Rob McClure, Andrew Rannells, Tony Goldwyn, Fionnula Ferryman Flanagan, Mercedes Ruehl, and Jayne Houdyshell getting nominated, which all seem very unlikely.

[hveasey]

Posted: 4/16/19 at 11:45pm

Saw this tonight and was very pleasantly surprised. Both the book and songs are legitimately funny, and Santino gives a great performance. I agree with the comments that the ending isn’t great, but it didn’t drag on and didn’t negatively impact the rest of the show for me.

It’s not the greatest musical of all time or anything, but it was enjoyable and fun which is more than I can say for a lot of shows.

[LxGstv]

Posted: 4/17/19 at 9:53am

getupngo said: " -Lots of broadway in jokes. including a reference to Michael being in the bathroom."

Saw the show last night, but don’t remember this being referenced in it at all. In which part does that happen exactly?

Posted: 4/17/19 at 9:57am

Saw this last night and all I can say is that it is one of the best books of a musical in a while. I haven't laughed so much in I don't know when. I actually really enjoyed the score too! Is it a revelation? No. But they are catchy and really smartly written. Lilli Cooper and Sarah Stiles are utterly delightful and Santino, of course, is tour de force. This is a star making turn if there ever was one. You can really see how much he's putting into this role. What a fun show! I can't stop thinking about the fake choreography in the show either! "Bunny's got a fidget spinner!!"

[SomethingPeculiar]

Posted: 4/17/19 at 10:03am

"Where's Michael?
"He's in the bathroom"

I REALLY don't think that's a BMC reference.  And if it is, nobody in the theatre laughed. The BMC boy can't be the only Michael ever to use a bathroom?

[BalconyClub]

Posted: 4/17/19 at 10:04am

LxGstv said: "getupngo said: "-Lots of broadway in jokes. including a reference to Michael being in the bathroom."

Saw the show last night, but don’t remember this being referenced in it at all. In which part does that happen exactly?"

When Sandy knocks on the apartment door, Michael's roommate helps stall her at the door by quickly saying MICHAEL'S IN THE BATHROOM.

The line goes by quickly in the scene.

 

[John Adams]

Posted: 4/17/19 at 10:57am

BalconyClub said: "LxGstv said: "getupngo said: "-Lots of broadway in jokes. including a reference to Michael being in the bathroom."

Saw the show last night, but don’t remember this being referenced in it at all. In which part does that happen exactly?"

When Sandy knocks on the apartment door, Michael's roommate helps stall her at the door by quickly saying MICHAEL'S IN THE BATHROOM.

The line goes by quickly in the scene."

That line is directly from the movie. It just makes more sense, and is better played within the structure of the movie.

 

[barcelona20]

Posted: 4/17/19 at 11:11am

One of the funniest books of a show I can recall.  I much prefer this humor to Book of Mormon.  That being said, the music/lyrics do not rise to the same level unfortunately.  Full Monty, Dirty Rotten, Band's Visit, and Women on the Verge were all superior.  The show makes for a very entertaining night of theater, but it could have been so much better.  I for one, liked the ending.  Simple, but not overly gooey or cliche.

Side note, Santino uses a similar voice as Tootsie as he did in a brief snippet of "We Tapped That Ass" from Crazy Ex GF.

Updated On: 4/18/19 at 11:11 AM

[Mister Matt]

Posted: 4/17/19 at 3:04pm

but since I've been seeing a bunch of mixed reviews, do you guys think the show will still be running then. 

Yes

Also, how respectful is the show when it comes to transgender people?

I didn't see anything in the show that was either transphobic or disrespectful.

Full Monty, Dirty Rotten, Band's Visit, and Women on the Verge were all superior. 

Actually, I'd put this on par with Full Monty and definitely above Dirty Rotten Scoundrels (not a bad score, but my least favorite of Yazbek's works).

[sing_dance_love]

Posted: 4/17/19 at 3:22pm

Saw this on monday night and have to echo many of the recent posts, the show is FUNNY. I think the supporting cast is just firing on all cylinders, boy, everyone is great. Cooper, Grotelueschen, Stiles, Rogers, Halston: all fanstastic.

I am a huge fan of Yasbeck’s scores, and I thought about 30% was wonderful, mostly the women’s material. The rest is fine, with fun, very Yazbecky rhythms and melodies, but the lyrics just aren’t as funny or inspired as his past work. Michael’s material, in particular, needs the most work to really land.

That said, Santino is such a great comedian and is making this HIGH difficulty role look so much easier than it is, and he’s a joy to watch.

I think the zaniness quotient could go up just a smidge more, just a little bit of a lean towards Hairspray territory would really sell this. For me, the show didn’t quite reach the heights of the potential inherent in the material, cast, and creative team, but it’s totally charming, a laugh riot, and filled with great performances. I had a lovely time.

[BritCrit]

Posted: 4/17/19 at 5:14pm

barcelona20 said: "Side note, Santino uses a similar voice as Tootsie as he did in a brief snippet of "We Tapped That Ass" from Crazy Ex GF."

If you're interested, you might like to see another instance of Santino Fontana trying out his woman voice, by performing a solo version of a song he did in a certain Disney film...

https://www.youtube.com/watch?v=U041M0PKcWg

Doing a "single person duet" to "Love Is An Open Door" is no easy task, and you can tell that Fontana is overwhelmed by the challenge of singing the male and female parts  by himself. But it's messy and enjoyable fun, like the tune itself...

[seanmcdonagh121]

Posted: 4/17/19 at 11:05pm

I’m just out of Tootsie and I’m so disappointed and frustrated. Me and my friend got two rush tickets today and both agreed it wasn’t even worth that price. ($42)

While the book has some genuinely funny moments and the character ‘Sandy’ is played by the hilarious and talented actress Sarah Stiles, it doesn’t make up for the incredibly weak score and terrible characters.

The orchestrations are the best part of the score (overture and entr’acte). There wasn’t one song in the show that I can remember and I’m only 10 minutes out of the theatre. At least Kong had some moments in the score that were decent but this show hadn’t.

The set design was mediocre at best. The choreography had some nice moments. Lilli Cooper does her best with her thankless role.

I hate to tear a show apart but this musical really frustrated me. I can’t recall any other show I’ve gone to where I genuinely contemplated leaving at the end of the first act. Me and my friend didn’t even stay for the bows and as we left there was a lot of other people who had the same idea and the general consensus walking out was where was this amazing show we’d heard about?

I’m going to leave my thoughts there because I hate writing so negatively about a show..

[BeNice]

Posted: 4/18/19 at 12:44am

I revisited the show tonight after seeing it in it’s first week of previews. It has really come a long way. I am so glad they trimmed 15-20 minutes. Santino has only gotten stronger and now has that Tony sewn up. All of the supporting players remain strong and the comedy and rhythm is helped by the cuts.
I do not know if my positive feelings are informed by feeling like an insider when it comes to all of the Broadway winks and in-jokes but, regardless Robert Horn writes some of the best jokes I’ve ever heard, and the performances are great.
A very enjoyable and pleasant night at the theatre for me.

[brdway411]

Posted: 4/18/19 at 12:45am

The book is really good. Having seen the movie hundreds of times (yes, it's one of my favs), I liked most of the changes. That score was lukewarm at best. Liked the sets and lighting. Probably will not be returning to see again.

Oh, and they had to stop the show at one point for like 2 minutes for a set malfunction, has this happened before?

Updated On: 4/18/19 at 12:45 AM

[linus84]

Posted: 4/18/19 at 8:00am

Saw it last night. I was overall disappointed. I was really rooting for it but nothing really seemed to land for me. The cast is great and I think they are doing their best with the material they have. For me, the music was the biggest let down. I cannot recall a single song that I just wanted to hear again.

Also, the story just still doesn't feel quite right. I know they have addressed the concern about a man taking a woman's job (while pretending to be a woman) but it still just didn't sit well.

That being said, it was a fun, easy show to take in and I am thankful for the traditional musical comedy style they are using. It just overall wasn't my favorite thing that I have seen recently.

[NYCblurb]

Posted: 4/18/19 at 11:26am

Returned for last visit last minute and enjoyed the show's trim job. At least fifteen minutes quicker from start to finish, and a few spots really landing better for me. My favorite songs now from Yazbek's score are:

1) Dear John (Julie & Dorothy)

2) I Know What's Gonna Happen (Sandy)

3) The Greatest Night

The supporting cast remain the best ensemble I have seen in years for comedy and warmth. The book remains the highlight from screen to stage, they have done a dutiful and passionate effort. It shows.  Agreed that Robert Horn "writes some of the best jokes I’ve ever heard" and TOOTSIE is sitting in the vein of THE PRODUCERS for me. The "reveal" where Dorothy becomes known to her show within a show is the best its been for me now, no doubt.  

I am trying to get to see BEATLE this weekend, and have tickets for HADESTOWN tomorrow so will be fully up to date by Monday. That is all.

[bdn223]

Posted: 4/18/19 at 12:01pm

Saw the show last night, and I would say I was mixed on it. Part of my reaction was because I took my mother, who apparently holds the film on a pedestal and was angered over all of the changes from the movie. This was to a point where in our post show discussion she said, “It shouldn’t even be called Tootsie!” She also thought the show wasn’t “Me too enough” (her words) which confused me. Add to that she was upset that they cut out Dorothy’s date/subplot with Julie’s father. Her biggest gripe was that they changed setting from a Soap opera to a Broadway musical, and kept saying to me “It has to be a soap opera, that’s the point that it takes place in a soap opera and doesn’t work as a musical!!”
Based on our conversation I think its more so she grew up in the golden age of Soap Operas, subscribing to the magazines, and treating them with the same speculation and reverence modern audiences have for Game of Thrones, Stranger Things, and Avengers movies. So it was seeing the behind the scenes drama aspect of Soap Operas that made her love the movie, and not the a terrible person makes a drastic and unnecessary change in his life to learn the simplest of lessons. She did finally mention that aspect, near the end of the discussion, but refused to admit it that it was the heart of the story. 

Me on the other hand thought it was good. I don’t know if it was my seat, or the cast, as I could tell many of the jokes were funny and clever, they just weren’t landing. I kept thinking to myself if only the cast sold the joke 5% harder it would of landed. I was also in the side rear mezzanine, which was only about half full, so that may explain the 5% I felt I wasn’t getting. The book is really good though to the point where I wished it was a play with music, instead of a musical. (The only songs would be from Juliet’s Curse/Juliet’s Nurse) . Yazbek's score is ok i guess.....I felt like all of the songs were written in couplets, to the point where they didn't feel organic. There were several moments where I thought to myself, "I think Yazbek was more focused on finding a rhyme then the meaning of the lyrics." One time in particular that stuck out in my head was during "Who are You?" Julie pronounces "Or-ay-gone" in such a weird and drawn out way, to fit the rhyme. It wasn't as if this was done for laughs, which I would understand and accept even if the joke didn't land. I did find it poetic that Yazbek and Horn decided to end the show without a big closing number, and instead a small intimate book scene. In my opinion it really emphasized the message of you don't have to go big to understand the simplest of things aka you don't have to become a woman to respect women. 

Santino Fontana is effortless in the role, which scares me because he makes it look so easy, that you forget how hard it is. For such a big role, he somehow makes it not feel showy, which is why he's perfect. Dorothy is her own distinct personality compared to Michael and its only when Michael's personal desires interfere with Dorothy's actions that he plays up the drag aspects. Its a role that one could easily chew the the scenery down to a bare stage, but its his restraint that brings Michael and Dorothy to life. Lily Cooper is fine, but Julie's the show's unfortunate straight man, who also has to carry the show's emotional and dramatic core. "Gone, Gone, Gone" the only point she gets to let her shoulders down and have some fun, isn't that great of a song. The song feels like its from a different musical with Rock and R&B roots, compared to the rest of the scores intimate musical theater feel. Sarah Stiles, has what is destined every character actress' new go to audition and/or cabaret number with "What's Gonna Happen". If it wasn't such a competitive season for Best Featured Actress I would say she would be a lock for a Tony, as I honestly lit up whenever she was on stage. I would love for her to finally get a juicy comedic star vehicle like Once Upon a Mattress's Fred where she can truly shine. I will admit I have always loved her work, but I honestly think of Ms Stiles as a young Andrea Martin in terms of comedic timing. Andy Groteluschen's Jeff goes from a "Why is he even here?" in Act 1 to a scenery chewing marvel in Act 2. I just think his performance gets overshadowed though, by John Behlmann who is given the showiest part of the entire show. Yes, I said that right, for a show about a man who dresses as a woman to get a role in a Broadway show, it is the "Reality TV Dumb Jock" that has the showiest part. He sells it well, and I think he will get more awards attention over Groteluschen. Halston and Rogers are fine in their roles. I will say though halfway through Act 2, I thought to myself 'Didn't Michael McGrath win a Tony? Is this just a paycheck for him as the Stan literally does nothing the entire show and is on stage for maybe 10 minutes as most? He doesn't even sing. I am guessing Stan's role was substantially minimized and cut through the creative process since Chicago, as I honestly wonder's why he was considered a "Featured Actor" while  Britney Coleman and Nick Spangler's Suzie and Stuart are considered ensemble, when they have as much stage time and character development as Stan. Add to that Stuart and Suzie even get songs listed as characters in the songs, but aren't listed as characters in the cast. END OF RANT, but I digress. The sets were beautiful, and I honestly couldn't remember the last time a big musical used actual sets instead of a unit set, nor projections. By this I mean, the sets felt like sitcom level sound stages, and not a table/desk/chair/furniture with a projection behind it, which has become the norm as of late for big musicals (Frozen, Mean Girls)   that aren't doing some artistic theme its set.  

Over all I'd say its a fun time. I want give the show another chance, as I have a gut feeling that my seat and my mother's reaction, hindered my enjoyment. Is it as solid musical on par with other stage adaptations such as School of Rock, Shrek, Waitress, Rocky, Legally Blonde. Therefore I'd say its a good show, but I don't know if I would say its a great one.

Updated On: 4/21/19 at 12:01 PM

[WiCkEDrOcKS]

Posted: 4/18/19 at 12:05pm

I actually think it's a step above those movie to musical adaptations you've mentioned. ^

Is it reinventing the wheel? No. But it's a rock solid musical comedy that worked like gangbusters, in my opinion.  Wonderful performances, lively musical numbers, a hilarious book, a fast pace - what more could you ask for from a big budget movie to musical adaptation? I had a great time.

[Mister Matt]

Posted: 4/18/19 at 12:48pm

My favorite songs now from Yazbek's score are:

1) Dear John (Julie & Dorothy)

2) I Know What's Gonna Happen (Sandy)

3) The Greatest Night

 

Top of the list for me is the rehearsal number I'm Alive, which makes me want to Frug and Pony all over the place.  That tune is super catchy and fun and the choreography was  hilarious.  I also thought I Won't Let You Down was an infectious earworm and in context of the audition scene, it was very very funny.  Is "Dear John" what they're calling Julie's exposition number (I called it "Okay"?  I really love the melody to that tune which is classic Yazbek, as is Who Are You.  The latter is like a nod to Twin Soliloquies from South Pacific with a twist (even down to the detail of holding and sipping their drinks).

[yankeefan7]

Posted: 4/19/19 at 9:48am

" Her biggest gripe was that they changed setting from a Soap opera to a Broadway musical, and kept saying to me “It has to be a soap opera, that’s the point that it takes place in a soap opera and doesn’t work as a musical!!” "

I don't know how old your Mom is but I agree with her, maybe we are around the same age. Anyway, the reveal in the movie was awesome because it was done "live" and in front of millions of people watching on TV. The reactions of the director/producer and actors on the soap opera were priceless. In addition, the movie made Dorothy into a major celebrity with her picture on magazine covers and being on all the TV talk shows. I have not seen the show but from what I read it seems the reveal did not have the same impact.

Updated On: 4/19/19 at 09:48 AM

[John Adams]

Posted: 4/19/19 at 10:32am

yankeefan7 said: "" Her biggest gripe was that they changed settingfrom a Soap opera to a Broadway musical, and kept saying to me “It has to be a soap opera, that’s the point that it takes place in a soap opera and doesn’t work asa musical!!” "

I don't know how old your Mom is but I agree with her, maybe we are around the same age."

 I agree, also.

There is no way that musical Michael would ever achieve the kind of notoriety that movie Michael did without being on TV. It's not that a Broadway actor is a "big fish in a small pond", but more that Broadway actors are big fish in ponds with exclusively limited visibility. It's very hard for me to believe that when the general public in musical Tootsie world heard the name Dorothy Michaels, they wouldn't respond with, "Who?"

I also agree with the point made regarding excising the trip to Julie's home. In the movie, that was the heart of the film. That was the Act where Michael learned how to be "a man", as opposed to a womanizer. Musical Michael is missing that kind of character arc. Honestly, (and keeping in mind that I saw the show in Chicago) I didn't see that Michael had any kind of character arc at all.

The musical tried to replace the "heart" (and the #metoo kind of messaging) found in the movie with jokes. And it works to an extent, but it makes for the kind of musical that others have commented about - it was funny, I had a good time, but I wouldn't see it again.

PS: I wonder how long it will take before the jokes in Tootsie, the musical will no longer "land" with the impact they currently have? If/when that happens, this show will be just a vanity project for an actor who accepts the challenge of performing the lead role.

Updated On: 4/19/19 at 10:32 AM

[Mike Barrett]

Posted: 4/19/19 at 10:51am

Any seating recommendations for this? Price doesn't matter really. Not sure if this is specifically a good show to see from a mezzanine or not, or if the side views at the Marquis are poor or anything. A view from my seat sometimes only says so much! Thanks in advance, pretty excited for this show, seems very fun honestly. 

For those who have seen both, how would you compare this score to The Prom's? I personally had a blast with The Prom's score, I found it very cute, fun, and heartwarming. Its not the greatest score to hit broadway but its fun to listen to, hoping for something similar with this show. 

[Charley Kringas Inc]

Posted: 4/19/19 at 11:10am

It’s sounding a lot like the changes they’ve made to the material have been minimal, which is kind of a shame because a lot of the recommendations people made during the Chicago tryout would’ve been terrific additions. I guess that’s easier said than done, but huge agree on Michael needing a proper arc in terms of discovery, as well as an upping of his public visibility. Maybe if the show were a Hamilton-sized hit and he took off his wig during, like, a widely-watched performance on the Today show or something?

I still disagree that the show has a forgettable score, though I love the suggestion someone made that the scene with Michael(s) and the female producer should be a two-hander number, like The Grass Is Always Greener. I think my biggest score complaint is that the audition song isn’t very interesting or funny.

[sing_dance_love]

Posted: 4/19/19 at 11:55am

Mister Matt- I’m with you, the melody to (I guess its’s called) Dear John was so wonderfully interesting and reminded me of the best of what I love about Yazbeck. Definitely one of the best in the score.

Mike Barrett- I really enjoy The Prom’s score too, and for me, when The Prom’s lyrics are trying to be funny they’re more consistently laugh out loud funny than those in Tootsie, and when they’re trying to be touching they’re more consistently that than those in Tootsie. Tootsie does have a handful of wonderful numbers though and is filled with vibrant melodies. You’ll find plenty to enjoy.

[Mike Barrett]

Posted: 4/19/19 at 12:23pm

sing_dance_love said: "Mister Matt- I’m with you, the melody to (I guess its’s called) Dear John was so wonderfully interesting and reminded me of the best of what I love about Yazbeck. Definitely one of the best in the score.

Mike Barrett- I really enjoy The Prom’s score too, and for me, when The Prom’s lyrics are trying to be funny they’re more consistently laugh out loud funny than those in Tootsie, and when they’re trying to be touching they’re more consistently that than those in Tootsie. Tootsie does have a handful of wonderful numbers though and is filled with vibrant melodies. You’ll find plenty to enjoy."

All I needed to hear! Getting my tickets for Tony week!