TUCK EVERLASTING Previews — Page 6

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.

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

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 .

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."

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

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

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.

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?

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.

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



HAH!

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

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! :)

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