We had super high hopes for this show, having bought tickets to the West End production a year and a half ago that was canceled due to that catastrophic roof collapse at the Adelphi. So we've been waiting a while to see what the fuss was about.
Well, no question that the physical production is a winner. Superb concept beautifully carried out in sets, projections, lighting, choreography and simple command of the stage. We were in center orchestra second row-- a great perch for taking in the fine performances, and a super chance to observe the awesome details of the train set being installed on the stage floor during Act I, but lousy for seeing most of the floor imagery. (Fortunately much of the imagery there is duplicated on the upright walls.) Anyone with foresight should pick seats farther back or in the front mezz.
But the real question is-- was all that spectacle in the service of a great play? Our answer is not quite. Act I is dazzling, and Alex Church is riveting as Christopher. The climax of Act I as pieces click together was nearly as thrilling as the Act I climax in SUNDAY IN THE PARK WITH GEORGE.
But by Act II we wanted something more meaty than an all-stops out journey to London. We wanted our experience to change and deepen-- we wanted the story to finally take us somewhere new. We wanted the adults to learn a new way to be with Christopher, something they don't seem able to do. By the end of the play we were really just whistling the sets, which wasn't quite enough of a meal.
Updated On: 9/30/14 at 04:03 PM