First off, what circumstances? Are you saying it was insensitive to use the word rape because a fictional character's fictional sister was raped and murdered in a show based on a work of fiction? If so, wow.
Second.
rape:
1. The crime of forcing another person to submit to sex acts, especially sexual intercourse.
2. The act of seizing and carrying off by force; abduction.
3. Abusive or improper treatment; violation: a rape of justice.
A rape of my senses would most aptly be described as #3, so take your pity party somewhere else. I felt assaulted by how loud the microphones were on actors clearly not needing them (namely James Barbour who even said in the talkback that he was trained to perform without microphones: something I wish the sound technicians took into account) & my sight because I couldn't believe just how ridiculously similar the lighting and costumes were to Les Miz and the misuse of such a huge stage and proscenium leaving the show looking bare.
I was going to take the time to write a full review elsewhere, but as my opinion and choice of expression for it is being called out, I'll do so here:
If I had paid anything more than free for A Tale of Two Cities, I would have stormed the Bastille myself. Perhaps my disdain for the show is fueled by its survival in a Broadway where shows like [title of show] close after 100 performances, but I know myself enough and know that I've seen enough theater to be able to discern good from bad.
The music:
I felt as though I were stuck in "Like Father, Like Son" from AIDA or the endless "I Hope You Like It Here" songs of The Woman in White for the first 60% of the show. The songs felt like banter set to music rather than actual pieces with verses and a chorus. "Out of Sight, Out of Mind" was the first to really feel fully fleshed out (performances review late). Most of James' songs felt the same, just a decision to end them with a deafening and unending belt or a soft high note. Brandi's second act 11 o'clock(ish) number left much to be desired until her money note in the end that really blew the roof off the place.
Performances/Writing/Direction:
Due to the material, these actors deserve great props. The elderly nanny (sorry, discarded of my playbill so don't have song/characters names) tried her damdest to make her lines come off as funny, and they felt like they were
supposed to be funny, but just were not. Barbour resorted to stock, modern sarcastic humor in his portrayal which really took me out of the period of the piece. His main talent was displayed in execution of songs. He certainly does not need a microphone for his belting songs (which were the majority) and ended up feeling like they were being pounded into my head. Not to nitpick, but the little girl sounded Australian. She didn't drop the accent so good on her, but my friend and I snickered every time she said Sydney. Aaron was in great voice though not given much to do. I'd much prefer seeing him storm the barricade. Brandi is breathtakingly beautiful but her character simply pissed my friend and I off. Her weigning from one man to the other was both predictable and obnoxious at the same time.
The staging was odd and uneven. The stage at the Hirschfeld is so large and the set pieces, although inventive, were not executed well. With those two large pieces, the stage still felt empty. When the "real" gunshot went off during one of the scenes and then the character ended up living anyway, my friend and I looked at each other like "did they just need to scare us to keep us awake at this point?" It just felt like they were trying to get everything that Les Miz had into this production. Large ensemble number bathed in red lighting; stomping and starting a revolution where intermission should be? Check. Little girl ballad about heaven? Check. Love triangle? Check. French revolution? Double check.
I feel like anyone who says this show isn't ripped off of Les Miz is simply in denial and rather naive. Listening to the cast at the talkback trying to justify it by saying "well, some of the great Leonard Bernstein and Comden & Green musicals were set in WWII, do people question them being the same?" was just sad. It isn't a coincidence that this show premiered hot on the heels of a "revival" of Les Miz and uses a huge majority of the narrative devices employed in that show. And poorly I'd add.
Its funny too as I don't count myself as a huge fan of Les Miz. I saw it as a Jr in high school and sort of loathed it but then found myself growing in interest of it in time for the latest revival and gave it another shot. I can't say I listen to it regularly, but could hum you a tune or so from it. I simply cannot say the same for this production.
EDIT: And if a Broadway professional doesn't want to work with me because I have a clear and articulated review of a show I despised and they went to the point of identifying me in order to block that employment, so be it. I'd rather stand by my opinions. I don't eat **** to get a job.
Updated On: 10/14/08 at 02:09 AM
