TOOTSIE the Musical: PREVIEWS START- Page 6

[Sauja]

Posted: 4/2/19 at 12:51pm

I adored the score for The Band's Visit and was one of the seemingly few fans of Women on the Verge, but Tootsie left me cold. The cast is fantastic and does their damndest, but the book and score are serious letdowns. It's not a disaster like so many of this season's new musicals, but if we're not grading on a curve, then that doesn't help very much. But really...what a cast!

[Mister Matt]

Posted: 4/2/19 at 12:55pm

Can someone explain to me how a second-rate theatre composer like David Yazbek keeps getting work, let alone awards?

Because people who have different opinions than yours hire him and vote for him.  

Yazbek has shown little affinity for writing memorable song scores. 

Some disagree completely (see above).  I find his scores instantly memorable and infectious.

True, in this post-Sondheim era, our expectations must be lowered, but...

You should have just started out with that so we'd know to disregard everything else you have to say.  

but why not just do a straight version of the piece, and eschew the songs altogether?

Why not just do that with every non-Sondheim musical so your expectations will never have to be lowered?  GAWD.

[Mister Matt]

Posted: 4/2/19 at 12:59pm

Yazbek has shown little affinity for writing memorable song scores. 

FWIW...Critics of Sondheim said EXACTLY the same thing about his scores.  Sondheim joked about it himself within his score of Merrily.  You know that lyric, right?

[Flowerlovestage5]

Posted: 4/2/19 at 4:03pm

I caught this last night.  I'll start by saying I am a huge fan of the film and can never speak highly enough about the original cast/creative team: Sidney Pollack, Hoffman, etc. 

That said: I was very pleased by what I saw last evening and sufficiently entertained.  

 This stage adaptation of the story stands on its own, which is a good thing.  It's not an exact replica, nor should it be.  The film is a classic (in my opinion) and this version does a very solid job at translating the core of the story -- while keeping things fresh.  All the changes from film to stage have already been mentioned so below are just some thoughts on a few:

**Spoilers Below**  

I loved the book scenes.  I thought the humor was reminiscent to Neil Simon and yes, there are many one liners.  I thought they worked to their advantage within the dialogue. I do believe this piece would have served just fine as a play with the material they were given.  It was that entertaining (to me). Alas, they made it a musical ......which is fine.  Changing from soap opera to musical theatre still makes everything gel – as I think it provided a better foundation for the various musical numbers when representing the show in which Dorothy was casted.

I can take or leave Yazbek's lyrics.  I'd give him 3 or maybe 3.5 stars out of 5.  The orchestrations I found to be lovely - though slightly repetitive.  Again, this is not screaming a knockout score by any means.  The lyrics weren't crap, just sufficient on a basic level.  The wantsof each character were expressed and the points were made.  Nothing to write home about.  I do feel he created an even score, in the sense that each character has their moment: solo, duet, reprise, etc.  I enjoyed the larger ensemble numbers in the rehearsal room, Juliet's Curse numbers, etc. -- they were amusing.  As others have stated -the solo numbers for both Sarah Stiles and Andy Grotelueschen were fantastic!!  Yazbek wrote great music for them -- loved it!  The audience ate it up.   Though his score is slightly above mediocre – it does not kill the show.  If that makes any sense?

To repeat, Sarah Stiles and Andy Grotelueschen were excellent.  They each have unique traits for which the audience was responsive to their antics.  Full circle was the "coming together" of the two characters at the end -- different than the film and I bought it.  Kudos to the other actors who filled their roles well and were just as entertaining.  The supporting roles all interconnected with each other -- I did not feel there was a character that was void of purpose to just fill time. 

I was surprised how much I liked this version of the Max Van Horn character. In fact, it was a great idea.  Mention of him being a prior "reality star" who has now forayed into acting (regardless of the fact that he has no visceral talent) is so valid in our industry today -- and I loved how it was used to effect here.  John Behlmann provided us another comedic performance to enjoy.  

Now, Santino Fontana.  He gave us a very nice Michael Dorsey and better yet, a lovable and believable Dorothy Michaels. Not as tiny as Dustin Hoffman…but this Dorothy is character actress with intellect, honesty, and talent.  Fontana makes a robust woman who was probably never a “girls girl” but found ways to hold her own – and own it. Again, Yazbek's music leaves much to be desired for the characters development (both of them)...but he does very well with the score given.  SF is so talented and he commands the stage – exactly as it should be. I was not expecting Hoffman's take on Dorothy as no one can (or should attempt) to replicate.  Still, I saw traces of the same persona; similar wig, glasses, and southern twang (I read that Fontana chose these elements -- I have to check which article).  I suppose this is the "Tootsie" trademark.  Makes me wonder if the actor doing the Mrs. Doubtfire musical will have the same look.  So be it, he looked good and either way, the new dialogue/situations helped Fontana to craft his own performance.   

I realize now, that I do wish his Michael Dorsey would show us a bit more of the narcissistic/thick-headed side that others label him.  I saw the ambition, the knowledge of craft, but I wanted to feel more.  That's not to say he wasn’t specific in his choices, he was.  But that's just my perspective.  He gave a great performance as both characters (so-to-speak) and he should be applauded. 

Towards the end, I wanted to sit with Dorothy and ask her advice.  I wanted to dance with her at the curtain call.  That means Fontana brought out various colors within himself to present her to us -- therefore a job very well done! 

SF did good work as Dorothy tries to come up with a story for the reveal. Although we already know what’s coming – it doesn’t have the emotional punch that it should.  I don’t blame Fontana for that but I’m not sure what should fix this?  I see what others are saying.

Act 2 should be trimmed down slightly - though I'm not exactly sure where.  Act 1 flew by for me but I see how others feel it is lengthy. I’m not sure what there would be to trim as I felt each scene was thorough and they presented us with great story telling for that first half. 

Side note: Someone tell me what is going on with the marketing material for this show?  There are some clever pieces but the color scheme is all over the place! The red playbill with the white logo looks good. That should be the marquee.  There were no posters available as of yet. 

I did get a Dorothy headshot on the way out – so clever!

 

[Charley Kringas Inc]

Posted: 4/2/19 at 4:28pm

Yazbeck’s work for Tootsie reminds me of K&E’s score for Woman of the Year - best when it’s funny, kind of a drag when it’s not. I’m glad that the show has a slightly downplayed ending, but I also can’t remember any of the quasi-11oclock number. I was also surprised that the reveal isn’t a song in itself, given that it’s such a major moment. The way it was presented in Chicago almost felt like an afterthought, particularly, as others have noted, it’s happening before a relatively small audience. 1,800 people seeing him take his wig off or whatever is kind of peanuts compared to the millions of people watching the soap opera in the original film.

But yes, there are many notable musical moments in this that are uniquely Yazbeckian, and thrilling for being so. The patter song, I Like What She’s Doing, the act two opener, the one for the horny co-actor, and the nightclub number (even if it had nothing to do with the show) all stick in my mind.

[Mister Matt]

Posted: 4/2/19 at 5:35pm

and the nightclub number (even if it had nothing to do with the show) 

I remember thinking the same thing!  It sounds like the beginning of the number has been re-staged to incorporate the lyrics into the book so that she's singing about the kiss between her and Dorothy (I think?) and the action segues into her nightclub performance.  I just wonder if Yazbek rewrote the lyrics for the first part of the song.

[EllieRose2]

Posted: 4/2/19 at 10:35pm

The merch is online already. I wish they had a magnet. Oh well.

https://tootsiemusicalshop.com/

[uncageg]

Posted: 4/3/19 at 12:04am

Saw it tonight. I haven't laughed like that and that much at a show in a long time. Cast has perfect comic timing. The book scenes were solid and what some of these cast members can do with just one word to have you on the floor is impressive.

Sarah Stiles is just a comedic tidal wave. Her "song" was genius.

The Dorothy number near the end of Act 1 was a theater lovers dream. My favorite was that fantastic, very quick, nod to a certain iconic musical in the middle of the number. Blink and you will almost miss it.

Musically, can't hum one tune. But the songs served their purpose and had some fun lyrics.

Lillie Cooper was fine. She can sing to me any day!

Glad I saw it. Dirty Rotten Scoundrels kept rolling through my mind. It had at least one hummable song but was also very funny.

All in all a great night at the theatre. And my Orch. Row J seat 6 seat from tdf made it better!

And no magnets at the theater merch booths. (Really?! No magnets?) And I don't remembet seeing a window card. After the magnet disappointment my attention to merch dropped to near zero! Got the headshot as I walked out, so happy about that. The resume on the back is funny.

Posted: 4/3/19 at 12:24am

Just got home. What an enjoyable evening. I'm not good at reviews so I won't babble on. The last three posters were spot on. This surpassed The Prom as my favorite show this season. The book was outstanding, just wish the music was as memorable.

[DramaTeach]

Posted: 4/3/19 at 1:04am

Many are saying this and Hadestown are the two that will battle it out for the Tony, but if this is the best our theater world has to offer, I'm sad for theater.  Is it bad?  No.  Is it great?  Definitely not.  My main problems with this are the music and the two leads.  All three of those are not memorable.  The show is funny, but the humor is very theater-y.  Not sure that my friends who don't perform or work in theater would appreciate some of the moments quite as much as I did.  The two I went with did agree that it's funny but also felt the same way about the music and the leads, and we're not sure if it's the music they're given that makes them boring.  Unfortunately, I don't think at this point Mr. Yazbeck will be writing any new songs for it although I wish he would.  His music in The Band's Visit was stunning, and there were a couple of catchy tunes here, but most of it was a miss.

I cannot tell you a thing about what Ms. Cooper's character's backstory is supposed to be.  I'm pretty sure she sang a song about an ex-boyfriend, but I genuinely don't remember a thing from it and am pretty sure I zoned out.  Nothing that Mr. Fontana sang did his character any favors either.  The chemistry wasn't there between the two of them, and their show was stolen by the incredible supporting characters around them.  Ms. Stiles was the one I enjoyed most, but I really found all of them to be very funny and very strong.  Hoping for nominations for a couple of them.

[uncageg]

Posted: 4/3/19 at 1:22am

The song about her ex-boyfriend gave us her back story.

[DramaTeach]

Posted: 4/3/19 at 6:14am

Then that song needs to be better or she needs to deliver it differently because I didn’t care about her.

[Mister Matt]

Posted: 4/3/19 at 9:33am

Many are saying this and Hadestown are the two that will battle it out for the Tony, but if this is the best our theater world has to offer, I'm sad for theater.

These two musicals opening on Broadway this season are how you judge the entire world of theatre?  Is this something you do every year or is this the year that permanently represents "our theatre world" for the rest of time?  I'm assuming you weren't around for the 88-89 or 94-95 seasons.

Nothing that Mr. Fontana sang did his character any favors either.

His angry number at the beginning of the show sets up his character and motivation.

 

Musically, can't hum one tune.

That's okay.  Even though they have cast recordings, I still can't recall a single tune from Dear Evan Hansen or The Producers, but they seemed to do okay despite that.  Funny thing is, if you really think about it, how many new musicals have you seen that you can easily recall the melodies afterwards, based on only one listen, BEFORE they've released a cast recording?  I was able to do it with Tootsie, Women on the Verge, Sense and Sensibility and Seussical, but those are the only ones I can think of and it was usually only one or MAYBE two melodies.

[Cynthiastarlight]

Posted: 4/3/19 at 10:02am

Saw this last night!!!  Loved it so much!!!  Haven't laughed non-stop in ages!!!  Santino Fantana is beyond amazing!!!  Loved the cast except for the actress and character of Sandy.  Perhaps it was just the character I disliked.  They really made her over the top to the point of being annoying.  But aside from that, this was the most fun I have had in so long!!!

[ccbway]

Posted: 4/3/19 at 10:05am

Mister Matt said: "
Musically, can't hum one tune.

That's okay. Even though they have cast recordings, I still can't recall a single tune from Dear Evan Hansen or The Producers, but theyseemed to do okay despite that. Funny thing is, if you really think about it, how many new musicals have you seen that you can easily recall the melodies afterwards, based on only one listen, BEFORE they've released a cast recording? I was able to do it with Tootsie, Women on the Verge, Sense and Sensibility and Seussical, but those are the only ones I can think of and it was usually only one or MAYBE two melodies."

Wow, that's an interesting take. People have their opinions about Dear Evan Hansen as a show, but I'm surprised you would say that about the songs, which is essentially anthem after anthem. Updated On: 4/3/19 at 10:05 AM

[Charley Kringas Inc]

Posted: 4/3/19 at 11:13am

I mean, it's rare that I come away from a musical or cast album with one view or listen and have any of the songs really stuck in my ear (DEH being "anthem after anthem" is honestly part of the reason I don't remember a single note from it). 

[Kad]

Posted: 4/3/19 at 11:32am

Older musicals had the practice of encores to drive big numbers into your brain. And reprises! Often in the finale, so it’s the last thing you heard! There’s no way you walk out of Hello Dolly without Sunday Clothes or the title song in your brain- you hear them for five minutes, then their encore for another minute or two, and then they’re in the finale.

Newer musicals have largely dropped that practice, so why is “hummabity” still so many people’s measure of a quality score?

Updated On: 4/3/19 at 11:32 AM

[JudyDenmark]

Posted: 4/3/19 at 1:46pm

Kad said: "Older musicals had the practice of encores to drive big numbers into your brain. And reprises! Often in the finale, so it’s the last thing you heard! There’s no way you walk out of Hello Dolly without Sunday Clothes or the title song in your brain- you hear them for five minutes, then their encore for anotherminute or two, and then they’re in the finale.

Do you think that was the case when people first heard it, though? I mean, I totally get your point about reprises, but do you think 1964 audiences left with Act 1's Sunday Clothes in their heads? I'm not sure. 

Newer musicals have largely dropped that practice, so why is “hummabity” still so many people’s measure of a quality score?"

I don't know that it's literal hummability so much as broad accessibility. There are some songs that are more aurally pleasing than others on a first listen. "Superhero" off-broadway right now is a good example to me. I remember that the very last title song was extremely "hummable," even if I couldn't hum the melody for you now. (Can't necessarily say the same for the rest of the score, but that last song was the definition of hummable to me.) As opposed to some of the more sophisticated/atonal modern musical theatre writing which often requires several listens before becoming an earworm.

Edit: I also think to some degree this is highly personal. I find it fascinating that someone would refer to David Yazbek's music in general as anything but hummable and easy to listen to, but that's just me. 

Updated On: 4/3/19 at 01:46 PM

[Mister Matt]

Posted: 4/3/19 at 2:41pm

I find it fascinating that someone would refer to David Yazbek's music in general as anything but hummable and easy to listen to, but that's just me. 

Me, too.  Ever since seeing the original cast of The Full Monty, I always found most of every Yazbek score to be catchy and "hummable".  I remember seeing Sondheim's Bounce at the Goodman and the only memorable melody was the title song because it was reprised multiple times throughout the show (something Sondheim fans often condemn Lloyd Webber for doing), but my ability to recall the melody shortly after seeing the show had nothing to do with the quality of the show or the score, which were pretty awful.  On the flip side, there was no way I was going to be able to recall a melody from the tryout of Light in the Piazza, but the show and score had an emotional resonance I couldn't shake for days afterward.

As for Tootsie, I enjoyed most of the score the first time I saw it, with a few particular standout numbers I could easily recall (including a couple of melodies I could hum for weeks afterwards), but upon my second viewing, I loved the score even more and can't wait for the cast recording.  I have a feeling after the cast recording is released, we're going to see more praise for the score.

People have their opinions about Dear Evan Hansen as a show, but I'm surprised you would say that about the songs, which is essentially anthem after anthem.

Maybe that's why I don't remember them.  Perhaps the songs are too similar in style.  I now there was the Waving in a Window song and the one his mother sang, but I can't recall the melodies.

[Eliza2]

Posted: 4/3/19 at 3:08pm

EllieRose2 said: "The merch is online already. I wish they had a magnet. Oh well.

https://tootsiemusicalshop.com/"

I was there and asked about a magnet, he said it was coming and to keep checking online - they just hadn't come in yet.

[Robbie2]

Posted: 4/3/19 at 3:29pm

For Santino Fontana, Tootsie is more than a diva's debut

https://ew.com/theater/2019/04/03/santino-fontana-tootsie/

[Rogerdellibovi]

Posted: 4/3/19 at 7:18pm

I can’t believe I forgot to ask but someone whose seen it on broadway please tell me if this still occurs (spoiler because if it does I don’t want to spoil): 

 

Click Here To Toggle Spoiler Content

If Julie knees Michael in the crotch after his reveal. Personally didn’t like that moment and thought they might change it. 

Does anyone else feel like “being a woman is no job for a man” is kind of a weird slogan? Idk I feel like it would be weird for both men and women to walk around with a bag that says that. 

[DramaTeach]

Posted: 4/3/19 at 7:40pm

^ Yes, it still happens.  And yes, the other is weird too.  It's all trying too hard to be hip and relevant.

[DramaTeach]

Posted: 4/3/19 at 7:40pm

^ Yes, it still happens.  And yes, the other is weird too.  It's all trying too hard to be hip and relevant.

[yesraccoons]

Posted: 4/3/19 at 8:39pm

I was wondering if anyone has rushed this recently? Would I be okay for tomorrow if I went to the theater at 11:30 or 12?