TUCK EVERLASTING Previews — Page 4

Caught this last night. This was one of the more anticipated shows of this season for me, and I enjoyed it thoroughly! I thought Sarah Charles Lewis was excellent! The last ten minutes were stunning - the best part of the show. The first solo by Winnie Foster was one of the best songs of the night. The cast was great, but there was something uncomfortable about the chemistry between Winnie Foster and Jessie Tuck, being that one is played by an 11 year old girl and the other is 30. The score is fine, some numbers better than the rest. You Can't Trust A Man had the best lyrics of the night.

I found the set to be enchanting, the direction to be strong, and the costumes a stand out. Glad I caught it, looking forward to hearing the changes that will be made.

I admit to having a straight-girl crush on Andrew Keenan Bolger, but it is true, he is playing a 17 year old and he is almost 30. He is boyish and would make a great Peter Pan, but in the book his character is definitely romantically intrigued by Winnie which means we really have to go with the fantasy that he is playing a child.

He is boyish and would make a great Peter Pan.

If you saw Andrew Keenan-Bolger on Show People with Paul Wontorek, he admitted that he actually played Peter Pan once...
https://www.youtube.com/watch?v=dUo2X0ugX2M&list=PL_2Wk1WlmEyQqd_lX9J-RKns1FQXX3N6i&index=147

Updated On: 4/2/16 at 12:07 PM

WhizzerMarvin said: "You're right that some shows hardly seem to change at all. The first preview of Big Fish felt identical to the closing performance. Same goes for The Last Ship and Catch Me If You Can.



I think the massive technical demands for most do limit how much can truly be changed, replaced, etc. It's easy to cut a number or change a few lines of dialogue, but many shows don't do more than that.



Cry-Baby replaced a song in previews: Class Dismissed was cut and replaced with A Whole Lot Worse. Fun fact: the creators appeared to try to fix and change things chronologically and never got around to the second half of act two. There was a small reprise/refrain of Class Dismissed that remained in the show through the closing performance although the song was cut from act one!! (Also, at the first preview they hadn't finished the orchestrations for all the numbers yet and Harriet Harris' big number, I Did Something Wrong Once, had to be performed with only piano accompaniment.)



13 was two acts (2.5 hours) at the first preview and by opening was one act and 100 minutes. I saw 13 5 times and it changed A LOT. It was substantially a better show by the end, but the real question was why, after two out of town try-outs did it take them till New York to make all these changes? The bad word of mouth had already spread and the damage was done.



I feel like I've seen a fair amount of cut songs, cut jokes, etc. There was an especially heinous song and surreal dance sequence with iPads in First Date that I believe only lasted a few previews and sadly wasn't preserved as a bonus track on the cast recording. I can't remember the tune, but the staging is burned in my mind! Ha.



"

I remember that song from First Date! Kate Loprest sang it as "Google". I think it was all about how easy it is to google people before a first date? Something like that? I can recall a bit of the melody, but none of the lyrics. It's was a good call to cut that song...

theaterbuff3, do you think anything in particular needs to be worked and reworked? Or just the whole thing in general? I saw one of the final dress rehearsals, and saw it last night, and am there again on Monday and I'd love to get other people's opinions on what needs to be done.

I think the first act could be tightened and suspect it will be. Also there are so many pros on that stage that I believe they will start to become more familiar with the work and it will automatically go more smoothly. That's why God created previews. It's definitely my favorite show of the season, thus far. Feels like a production that will play anywhere in the world and become beloved. Its certainly one I can see over and over, bring new people to, and feel good about it every time. Doesn't happen often.

I'm going to second your emotion, theatrebuff. Since this is based on one of my very favorite children's books (read by our entire family), I prepared to be disappointed at its adaptation to the Broadway stage. Not only was I not disappointed, I was thrilled to see that TUCK honored this beautiful story and its central message perfectly. I attended the first preview, and while I'm sure there are kinks to tweak and further polishing to do in the next few weeks (always are), think TUCK is a welcome antidote to these sometimes dark and desperate times. There aren't too many musicals that you can take both a 9-year old and a 90-year old to, but Tuck is one. The message came across without being preachy, overly saccharine or trite. A wonderful ensemble, with the adorable Sarah (as Winnie Foster) at its center. A good balance of touching and funny, with some laugh out loud lines throughout. Those who want snark and dark can find plenty to sample on Broadway, but I'm happy that TUCK provides a breath of fresh and original air to this season. Hope it's everlasting!

Alex10 said: "lucillefrank said: "QueenAlice, the two shows that come to mind that made "major" changes during previews are Something Rotten! and Finding Neverland. The number "All of London Is Here Tonight" was an entirely different song and had Matthew Morrison sitting on top of a grandfather clock. It was...something. For Something Rotten!, the quartet "Lovely Love" was cut and replaced with a reprise for Heidi Blickenstaff.

Something Rotten! also had a different opening number in early previews, according to my friend who saw the first preview. By halfway through previews, it had been replaced with "Welcome to the Renaissance".



I had no idea! The cast is putting on a show at 54 Below of cut songs from the show later this month. I wonder if that will be included. The only other changes I know about was most of Something Rotten/Make An Omelette as well as the finale.



Sorry for being so off-topic.

Updated On: 4/2/16 at 02:54 PM

"Welcome to the Renaissance" has definitely always been in Something Rotten...there was a preview video of that number before they began performances, and I saw the 3rd or 4th preview and that song was definitely there. I haven't seen the show since so it may have been altered, but the song has always been there.

Hands on a Hardbody is another recent show that comes to mind that made substantial changes during previews. I saw it early on and it was very messy, but according to friends who saw it later it really became a completely different show.

Updated On: 4/2/16 at 03:05 PM

I saw this last night and enjoyed it, especially the beautiful second act. I arrived at the theatre around 1PM and got a rush ticket Orchestra Row F Seat 18. Upon my arrival to my seat I was disheartened. It appeared my view was the partialest of partial, but it actually turned out to be a lovely seat. I did miss a few moments, but I leaned forward a little during those moments and was completely fine. I certainly did not miss anything and encourage you all to rush this if you are even semi-interested in this show!

I did like the design. It was simple, cute, and elegant. The lights mimicking the actions of fireflies were lovely and added atmosphere. The only "note" I have about the set was about the boat during which we first hear "Wheels". It seemed to stop center stage with Mr. Park's back to us. I'm sure that'll be worked out.

The score was very pleasant in the theatre. However, I'd be lying to you if I said I remembered most of it. I remember the melody "On the Top of the World", but that is all. While watching the show I was fully into the score though and there are some nice lyrics in there (minus Applegate's song). It's a fine score that suits the show well enough. I would buy the album.

The performances were very nice. You can see they are all invested in telling this story.

I agree that some of the dancing is unnecessary. The ensemble doesn't need to be in every number and it does take away from some moments. But, it's important to acknowledge that these moments are staged nicely. It's not that it's bad... it's quite nice to watch. It just isn't meant for this show. (You know what I mean?)

But, those last ten minutes of the show were simply beautiful. I was blown away. I was not suspecting anything of its kind. The people next to me on both sides were sobbing and I may or may not have been sobbing along. I wont spoil anything, but it is truly wonderful.



Awards... I'm not sure.

Nominations... Certainly. (Set, choreography, lighting for sure...)

I don't expect this to be this seasons surprise hit, but I will be recommending it to many people of all ages. There is some beautiful work going on here and I encourage you all to see this show!



*Sorry if the song titles are wrong. I don't have the Playbill near me at the moment. But, I'm almost positive they're correct.

Updated On: 4/2/16 at 03:08 PM

SOMETHING ROTTEN! never had a different opening number. They did, however, have a lovely Act Two quartet that was cut early on.

Saw this tonight and the one word I'd describe it as is BLAND. It's not offensively bad, it's just boring. The score is incredibly forgettable. The direction is bad. The design is pretty, but at times felt a little too "Disney" for this story (I'm thinking of when they went into the forest. It just didn't evoke a real forest. It felt very Disney amusement park ride.)

The opening is bad. Why is the ensemble dancing? Isn't the girl singing about how she can't live like this? So why is the ensemble smiling and dancing around so joyfully? It was incredibly distracting as if the director was like "don't listen to the words here...just, uh...just watch this.." And the second song, the best song of the night by far, said the exact same thing as the opening and staged just as stagnant. She's got 2 big numbers, the first two of the night, and she's basically standing center stage both times.

The show is way too choreographed. It's a simple show. There is no need to have the ensemble in every song. Which leads me to the direction. I just don't think this is his bag. He does musical comedy, and this needed simpler direction. The girl comes into these people's lives, and there was just no true, honest connection because everything was broken up with a dance break or the ensemble randomly dancing around them.

The fair scene was the worst, I think. The song just felt odd and the directing/dancing felt a little out of place. Or the choreography and the direction and the song didn't seem to match up at all. As if he wanted the song to be a bigger moment than it was. Not every show needs a huge production number.

All the actors were fine. Mann probably made the most impression because he was at least making some choices.

Again, the design was fine. I thought it was both surprising and quite pretty, but something felt a little too "commercial" about it.

I just think the show would have benefited from a more subdued show. It's a folksy little story. There's not some big plot that calls for big moments. I'd have loved a more realistic approach to it.

My teen daughter and I loved it--well, she LOVED it and I and really liked it; she wants to see it again. Some of the jokes you could see coming, but there were some surprises. We wished the ensemble dancers were kept out of a few scenes as they were very distracting and not needed at all, and the ending was very touching--tears were shed throughout the mezzanine. Sara Charles Lewis was wonderful, though her green dress and red hair had a 'young Fiona' vibe making me wish they had chosen a different color dress. We thought Andrew Keenan-Bolger did a great job making Jesse young and fun despite his years so his relationship with Winnie didn't feel creepy--which I was afraid it would.