TUCK EVERLASTING Previews- Page 6

[itis2l84u]

Posted: 4/5/16 at 2:40am

Does anyone know what changes have been made to the snow since its run in Atlanta?

[lucillefrank]

Posted: 4/5/16 at 8:13am

LimelightMike said: "Has anyone sat in Row BB of the orchestra? If so, what's the view like from that close up?

 

I've sat in B and it was great but I noticed the people ahead of me had to crane their necks during a scene with the tree in the first act. Otherwise, it looked like a fine view.

 

[Sondheimtime]

Posted: 4/5/16 at 9:13am

I was in attendance last evening and bought my TDF ticket when they first posted. I was Mezz Row B seat 15 just a few seats off from center. 

 

[Addison D.]

Posted: 4/5/16 at 10:53am

Saw it last night as a last-minute guest of someone with an extra ticket. Didn't know anything about the show. Haven't read the book(s?).  When my friend said "Claudia Shear", though, I was in.  'Blown Sideways through life' was/is a touchstone for me, and I loved 'Dirty Blonde'.  In both of those shows, she found complexity--humor, sorrow, inspiration--in people and situations that are easy overlooked or taken for granted.



In 'Tuck', however, there is no complexity, no ambiguity.  It feels like a show for toddlers--big, simple ideas with bland music and banal, uplifting, educational lyrics--there's a song about telling time and learning multiplication tables.   There is almost no dramatic tension.  The character in whom the potential for tension has been invested is a mostly benign presence for the first act, who behaves in a dastardly fashion for a few minutes and then suddenly (and I mean suddenly) disappears--relaxing the show back into slack, saccharine banality.   Without question, the 2nd act ballet number was the highlight of show--it told a story without the painfully simple-minded dialogue and lyrics with which the rest of the evening is burdened.

 
I am not, generally, a consumer of slight, charming shows in which perky children learn lessons taught by colorful-yet-harmless strangers, so perhaps this show was never going to work for me. On the other hand, a brilliant score, dazzling lyrics and/or stunning choreography and direction can make all the difference--I'm looking at you, 'Pippin'.  

 
The tree was handsome, the costumes pleasing and there is a tremendous amount of talent on stage. 

Updated On: 4/5/16 at 10:53 AM

[LimelightMike]

Posted: 4/5/16 at 4:15pm

Thanks for the perspective!

What is the consensus otherwise? Is this production big and lavish, to wheere a seat in the mezzanine would be sought after more than in the orchestra?

[Sondheimtime]

Posted: 4/5/16 at 4:20pm

I wouldn't call it overly lavish as the colors are lush and plentiful. The mezzanine at the Broadhurst is a great view no matter where you are seated, in my opinion.

For this show, it gives you a perspective  at the right angle .

[RippedMan]

Posted: 4/5/16 at 4:30pm

It's an expensive looking show. I was in Row J in the rear Mezz, center, and I loved my view. I'd say you want to sit as center as possible. But I like being up top so I can see all the tracks in the floors and trap doors and sfuff. 

Theres a lot going on in the set and wish it had been used more to better effect. The turntable is only used a handful of times and could have been really cool. 

[bway1497]

Posted: 4/5/16 at 10:43pm

lucillefrank said: "I was there again tonight and they've already cut a song. It's "Live to Tell the Tale," that fun one where the family is beating each other up. But Carolee told me the creative team is still deciding whether they'll keep it that way.

 

This news really upsets me. While it didn't move the evening forward at all, it was one of the most fun numbers in the show with some of the better music and lyrics of the evening. Some really clever rhymes there. Perhaps the song would've worked better in a smaller house. Hope it gets recorded eventually."

 

[RippedMan]

Posted: 4/5/16 at 10:52pm

But they kept that awful opening song and staging? Smart choices being made.

[Call_me_jorge]

Posted: 4/5/16 at 11:02pm

Before Jeff comes in. Remember what Casey did with something rotten during previews.

[bunnie3]

Posted: 4/6/16 at 12:27am

Looooved the prop TOAD!!

[goldenboy]

Posted: 4/6/16 at 12:27am

Totally Agree with Addison D. He writes an insightful review that I totally agree with.

 

Really nice sets and costumes but it seemed like an overblown children's show. This is the first must miss of the season.

I didn't understand the problem in the plot. The Tuck family drinks water that keeps them at a certain age for ever and ever. Someone discovers their secret and they have to leave.... Why? Why is this a problem? I don't get it. When Winnie discovers their secret,  they keep Winnie captive. Why? I'm sorry but this plot made no sense to me and I found it truly annoying and un-involving.  Did I mention silly?

The music is generic. And I was annoyed by much of it hoping it would end soon. As someone else said, It reminded me of the Secret Garden meets Big Fish---two shows I did not enjoy..  I did find the  ballet at the end of Act Two the best thing about the show  because as Addison said, I didn't have to listen to the banal plot or lyrics.

Casey Nicolow nicely stages this but he can't save the book and the music.   He is  a genius but could this be his first flop? This is a tough one to fix in my opinion.

Updated On: 4/6/16 at 12:27 AM

[LimelightMike]

Posted: 4/6/16 at 1:39am

Re: Row BB of the orchestra. I was able to secure a refund (having previously purchased a non-existent seat way back in October)... To those who've been to the show/sat in that row, where is the conductor located? Between 105 and 110? I can't seem to find 106 and 109 for ANY dates... and they obviously removed 107 and 108. Almost tempted to book a seat on the higher-numbered side to be closer to the tree. Or the mezz. Ugh, this is frustrating. LOL

[RippedMan]

Posted: 4/6/16 at 1:47am

Nicolaw is most assuredly not a genius as he has over choreographed this and his directing in this is not great. The blocking was awkward at times. 

The ensemble costumes reminded me of Zachary Binks in Hocus Pocus. What year we were even in? The costumed seemed a little all over the place. 

[Jeffrey Karasarides]

Posted: 4/6/16 at 7:14am

Call_me_jorge said: "Before Jeff comes in. Remember what Casey did with something rotten during previews."

As well as how he was able to turn Aladdin around from out-of-town to Broadway.

[ARTc3]

Posted: 4/6/16 at 7:30am

Wait! I have tickets with seats BB 108 and 109. Are you saying they've been removed? And, if so, what is the plan for seating someone who has those seats?

[freewilma]

Posted: 4/6/16 at 8:36am

ARTc3 said: "Wait! I have tickets with seats BB 108 and 109. Are you saying they've been removed? And, if so, what is the plan for seating someone who has those seats?"

There are seats in AA and BB that have been removed.  It's hard to tell exactly which seat numbers they are.  They built-out the pit area and the conductor is standing in a box that is in the middle of rows AA and BB.  From those rows, the stage if pretty high.  I would call the box office directly to confirm that your seats are still actually THERE.  If you are given the opportunity to move, be sure not to get seats that are very far off the aisle in right orchestra.  We were row J seats 10 and 12 and our view was partially obstructed by the tree.  I can't imagine how bad it must have been for seat 22!  

 

[QueenAlice]

Posted: 4/6/16 at 10:23am

I saw the show last night from the mezz, and I think perhaps because my expectations had been reduced to below zero, actually had an enjoyable experience. Yes, everything that has written about in this thread is true- the choreography is overwrought, the score undistinguished, etc. but I was able to surrender and go with it as a handsomely produced piece of children's theatre, with a very talented cast and a sweet story underneath it all.  And the ballet that closes the show was one of the most moving things I have seen all season.  It was odd to ultimately be more moved by this than Shuffle Along, which arguably has much more craft and skill behind it, but I was. The show wears it's heart on its sleeve (sometimes like treacle) but it has heart. It's basically on par for me with Finding Neverland.

As pointed out, there are several repetitive moments in the show; I thought Michael Park's song was too similar in style and content to (but less compelling than) the song by his son which came right before it.  I also thought the comedy song between the two detectives needs to lose a verse.

[LimelightMike]

Posted: 4/6/16 at 3:34pm

Is the mezzanine low-hanging at the Broadhurst?

[Valentina3]

Posted: 4/6/16 at 4:39pm

goldenboy said: "This is the first must miss of the season."

 

HAH!

 

[Eliza2]

Posted: 4/6/16 at 10:09pm

LimelightMike said: "Re: Row BB of the orchestra. I was able to secure a refund (having previously purchased a non-existent seat way back in October)... To those who've been to the show/sat in that row, where is the conductor located? Between 105 and 110? I can't seem to find 106 and 109 for ANY dates... and they obviously removed 107 and 108. Almost tempted to book a seat on the higher-numbered side to be closer to the tree. Or the mezz. Ugh, this is frustrating. LOL"

 

I called Telecharge today to switch my ticket. I had previously purchased BB 107, now I switched to BB 105 which was the most "center" one they had. BB goes from 105 to 110. 107 and 108 don't show up at all on the seating chart, and 106 and 109 are grayed out for every single performance which can't be a coincidence. The woman I spoke with said some of the seats had been marked to not sell because there was a problem with not enough leg room. So maybe 107 and 108 were removed for the conductor, and 106 and 109 were then removed because of leg room?

I didn't want to be closer to the tree because it seems like there are potential issues with it blocking views of anything going on behind it.

If anyone else found themselves in this situation, having purchased seats which have been removed, make sure to have the website pulled up. When I called, I spoke with a supervisor who said she couldn't see the actual seating chart to see what was available, it just kept showing her "next available." I told her I wanted BB 105, but it wasn't coming up for her, she was only seeing seats in A and B. So we decided it would be easiest if I just purchased the new ticket online myself, while she stayed on the line. Once that went through, I gave her my new order number and she refunded my previous purchase. But if I hadn't known BB 105 was now available by looking at the seating chart, I would have ended up a couple rows further back.

 

Updated On: 4/6/16 at 10:09 PM

[bwayphreak234]

Posted: 4/6/16 at 10:13pm

I have row R seats 9-11... How is the view?

[DramaTeach]

Posted: 4/7/16 at 12:05am

Just got home from the show, and I have to say I agree with many of the people who left feeling it was just fine.  It's aesthetically pleasing but is all show without much substance to back it up.  I enjoyed the music, but by Act II, I found myself thinking they were all starting to sound similar.  

 

In terms of performances, I thought that Terrence Mann and the actor playing Hugo came out looking the best.  Fred Applegate's running gag got old pretty quickly, and the woman playing Winnie's mother appeared to be the same age as the woman playing her grandmother.  Andrew Keenan Bolger has lots of spunk and a great dance sequence, but he doesn't have the strongest voice or the ability to bring some softer emotion (perhaps the material just didn't give him the chance).  Carolee Carmello had some nice moments, but I wasn't wowed.  I did feel for her in one scene when she hugged her husband and her hair got caught in his coat button.  He basically ripped her hair out as she continued to give it her all.  The young girl playing Winnie has a beautiful voice, but I was not impressed by her acting.  

 

**SPOILERS** The story itself needs work.  I know it's from the book, and that original book has issues itself, but there seem to be many loose ends that need to be tied up.  The music box is discussed repeatedly and then we never hear about it again or why it was so important.  The man in the yellow suit conveniently dies in a very anticlimactic moment. **END SPOILERS**

 

I didn't mind the dancing as much as I've heard from others on here.  Someone at the theatre was ranting about how much he hated it.  It brought some life to a show that was told too blatantly most of the time.  Man, I really sound like I disliked the show, but I didn't.  It was fine.  It happened.  I left the theatre and went on with my life, so I guess I took the show's lesson to heart.

[LimelightMike]

Posted: 4/7/16 at 12:06am

Eliza2 said: "LimelightMike said: "Re: Row BB of the orchestra. I was able to secure a refund (having previously purchased a non-existent seat way back in October)... To those who've been to the show/sat in that row, where is the conductor located? Between 105 and 110? I can't seem to find 106 and 109 for ANY dates... and they obviously removed 107 and 108. Almost tempted to book a seat on the higher-numbered side to be closer to the tree. Or the mezz. Ugh, this is frustrating. LOL"

 

I called Telecharge today to switch my ticket. I had previously purchased BB 107, now I switched to BB 105 which was the most "center" one they had. BB goes from 105 to 110. 107 and 108 don't show up at all on the seating chart, and 106 and 109 are grayed out for every single performance which can't be a coincidence. The woman I spoke with said some of the seats had been marked to not sell because there was a problem with not enough leg room. So maybe 107 and 108 were removed for the conductor, and 106 and 109 were then removed because of leg room?

I didn't want to be closer to the tree because it seems like there are potential issues with it blocking views of anything going on behind it.

If anyone else found themselves in this situation, having purchased seats which have been removed, make sure to have the website pulled up. When I called, I spoke with a supervisor who said she couldn't see the actual seating chart to see what was available, it just kept showing her "next available." I told her I wanted BB 105, but it wasn't coming up for her, she was only seeing seats in A and B. So we decided it would be easiest if I just purchased the new ticket online myself, while she stayed on the line. Once that went through, I gave her my new order number and she refunded my previous purchase. But if I hadn't known BB 105 was now available by looking at the seating chart, I would have ended up a couple rows further back.

 

Just booked BB 105 for a performance in May, 10 days after my originally scheduled ticket. Booked it via Telecharge offers. Hoping this was a smart move. When you go, I'd love to get your further .02 on the sight lines. And, enjoy! :)

"

 

[Jordan Catalano]

Posted: 4/7/16 at 12:27am

One thing that really bothered me is that at the very end of the show, when the Tuck family reappears, they should be in modern 21st century clothing. It makes their story much more impactful if we see that, like in the film when we see Jesse Tuck in his motorcycle.