CorkySt.Clair said: "Eliza, is there any way you could post the links to these? I don't have an instagram but I'd LOVE to see them! Thanks! (Oh and also thank you to everyone who replied w/videos of Scott. Much appreciated!)"
I've been saving them to my computer, I haven't uploaded them. I'm leaving tomorrow to go to NYC for the last few shows, but when I get back next week PM me a reminder and I can try to upload them or email them to you or something.
But honestly, if you're a fan, it would be worth making an Instagram account just to follow the Comet account. They're really crushing it with the content this week and I imagine it will keep getting better. Alex Gibson is doing the takeover on the last day and based on his personal account I'm sure it will be phenomenal!
Also, both the off-broadway cast album AND the OBC with Josh Groban are now available on google music for streaming."
That is both scary and hysterical. Would love it if he went to see the show just for the heck of it!
In our millions, in our billions, we are most powerful when we stand together. TW4C unwaveringly joins the worldwide masses, for we know our liberation is inseparably bound.
Signed,
Theater Workers for a Ceasefire
https://theaterworkersforaceasefire.com/statement
Went to show tonite, Thursday. At 5pm I stood at the stage door. Ms. Brittain came out to make a call. Dave came in. I asked him to sign my large GC book. He said he had to hurry b/c he had an interview, but didn't mention who/what paper, etc.
So look for that tomorrow, unless he just wanted to get inside and used it as an excuse. I don't ask for selfies so I knew it wasn't that. Whoever happened to come in I thanked for their performance and making it a great joy to be there. Figured they were entitled to that beyond the ovations. Also heard Oak was given a $25K check, but I presume that was payment for the remainder of his contract. Not really much compared to the movie industry.
GC may wind up being a cult classic like the Rocky Horror Pic Show. Stay tuned.
JayElle said: "Went to show tonite, Thursday. At 5pm I stood at the stage door. Ms. Brittain came out to make a call. Dave came in. I asked him to sign my large GC book. He said he had to hurry b/c he had an interview, but didn't mention who/what paper, etc.
So look for that tomorrow, unless he just wanted to get inside and used it as an excuse. I don't ask for selfies so I knew it wasn't that."
Dave mentioned the interview in his Instagram takeover and later featured a photographer taking pictures for the interview, so he was being sincere!
BTW, thank you for the seat advice yesterday. I went with the closer orchestra seats in the absence of any front mezzanine or stage seating.
JayElle said: "Dave came in. I asked him to sign my large GC book. He said he had to hurry b/c he had an interview, but didn't mention who/what paper, etc."
Heh, having gotten his signature at Josh's last show, one imagines it took him longer to tell you that than just do it....
JayElle said: "GCmay wind up being acult classic like the Rocky Horror Pic Show. Stay tuned."
Well, it may have a cult following, but RHPS had a slight advantage in that regard being a movie that could play when no other movies wanted to be shown, as well as home video...
I appreciate this show in soooooo many ways. I appreciate its artistic integrity. I appreciate its diversity. I appreciate its cast. I appreciate its creative team. I appreciate its producers. I appreciate its audience
This show, whether a financial success or not, is an artistic achievement for the ages and will be remembered for forever. It's moving the art of Broadway along. Away from such shows like Next To Normal(dear Evan Hansen) and once(come From Away). It's moving it along and making it better and I can't wait to see the day for the next show to be as dearng and venturous as this show.
In our millions, in our billions, we are most powerful when we stand together. TW4C unwaveringly joins the worldwide masses, for we know our liberation is inseparably bound.
Signed,
Theater Workers for a Ceasefire
https://theaterworkersforaceasefire.com/statement
Saw it for the last time on Thursday. Can't really say anything else that hasn't already been said.
Only thing I want to mention is a little moment I caught during "The Abduction" from my seat (BC6) which I haven't seen anyone else talk about: Nick Choksi ran over to the banquettes, handed a man his guitar, said, "Can you hold this for me? Please don't break it. It's very expensi—shoot, I have to go dance!" and ran over to join the group dancing around Pierre's study. Probably only around ~10 people were privy to it. I just love how the show is a completely different experience depending on where you're sitting.
Side-note: Did anyone get a clear image of Dave's future project board? I'd love to get a look at it.
Someone posted this album on Imgur; it has the Moby Dick whiteboard as well as a screen cap of his projects board. It's a bit fuzzy but I can't complain:
adagio said: "Someone posted this album on Imgur; it has the Moby Dick whiteboard as well as a screen cap of his projects board. It's a bit fuzzy but I can't complain:
It's one of the few shows I really wish I could see again, not just because I like it, but because I missed all the cool stuff I didn't see the first time.
Everyone has talked about the cast, and Great Comet - because performers were around you no matter where you sat - created a bond (if you let it happen). The guy who played the violin and flirted with my wife, hey, there he was at the top of the stage in the Tonys performance! Gelsey Bell threw us pierogis. Everyone has these stories, and some of you lucky folks have multiple, better ones.
But here's something that I appreciated about the show that has nothing to do with its diversity, or the cast, or all the fun.
Dave Malloy created a musical that got the audience playing along as co-conspirators and then pulls out the rug. We're on the side, during a significant part of the show, of the irresponsible, dissolute Russian nobility. We laugh along with or enjoy Dolokhov, ghostwriting love letters to Natasha; with Anatole, who has almost no redeeming qualities except for a little self-awareness; with the nasty seductress Helene. It all culminates with the "The Abduction," and then Marya brings the whole egg-shaking party to a screeching halt.
From then on, we're watching a tragedy and a small but important redemption story. The show, in the end, is about Pierre's depression, and his way to find a little way out of it while helping someone else (even if he has more than a little crush on that person). The last two songs drive that home in a way that felt more relevant and moving to me than any musical or play I've seen in a very long time. I lingered around the theater for a while afterward, complimenting an ensemble member, chatting with a woman we'd met, looking again at the beautiful set design from a different perspective. It is a very special show.
Just saw Saturday's matinee for my third (and final) viewing of this wonderful show.
I only went for the first time in July, when Dave was on as Pierre right after Josh left. I had lost the lottery on my December NYC trip, so after I lost the lottery again in July, I bought front mezz seats with a discount code. I did this because I'd read some good things here, and had heard a few songs from the show on one of my Spotify playlists - probably Dust and Ashes and No One Else.
Seeing the show for the first time was electric. Even though our far right front mezz section was pretty empty at a Saturday matinee, the performers were so into it, and the show itself was engaging. And the theater is absolutely stunning. I left being ehhhh on the story, but loving the set design and the energy, and liking a few of the songs enough to listen to them the next day.
Less than three weeks later, I was full-blown obsessed with the OBCR and was looking forward to seeing the show again on my winter NYC trip, except omg there is a huge controversy!! And then they announced closing. I was dying to see it again, now knowing the music and the characters, so I flew from LA to see it Friday night and Saturday afternoon with full-priced tickets.
If I had known more about this show than "The one that Josh Groban is in, with a crazy long seating thread on BWW", I probably would have gone sooner. The hype that the show is gaining now is what it needed before Groban left, because the show itself is the real star. I love that it trusts the audience to figure things out. I love that every time I listen to the OBCR (and see the show), I find something new. I now completely trust Dave Malloy to give me more good stuff, and am thinking about planning another trip back here next month just to see Ghost Quartet.
I am this show's target audience and they did not do enough to market it to me, and that is disappointing. I would have see it again every time I was in town, and that is not something I do with shows generally. It's an experience, with added value in repeat viewings. I truly hope they do get a tour together, because I will see it far more times than I should when it comes to LA if it's a fraction as good of a show as the one running at the Imperial right now.
Does anyone know if Blaine Alden Krauss, Brandt Martinez, Celia Ruben or Mary Page Nance play any instruments when they go on? I know the other swings all cover specific instrumentalist tracks (correctly me if I'm wrong - Shoba plays Violin, Kennedy plays Accordian and Brad Giovanine plays Clarient and Accordian) but am curious if, for example, any of the swings play guitar or if they just make do with one less guitarist for the night.
ChairinMain said: "Does anyone know if Blaine Alden Krauss, Brandt Martinez, Celia Ruben or Mary Page Nance play any instruments when they go on? I know the other swings all cover specific instrumentalist tracks (correctly me if I'm wrong - Shoba plays Violin, Kennedy plays Accordian and Brad Giovanine plays Clarient and Accordian) but am curious if, for example, any of the swings play guitar or if they just make do with one less guitarist for the night."
Blaine didn't play any instruments when I saw him cover for Lucas
In our millions, in our billions, we are most powerful when we stand together. TW4C unwaveringly joins the worldwide masses, for we know our liberation is inseparably bound.
Signed,
Theater Workers for a Ceasefire
https://theaterworkersforaceasefire.com/statement
^That post was beautiful on so many levels. I wasn't too familiar with Chavkin before Comet but I've seen her genius onstage and her passion off now. I wish her (and the rest of that INSANELY talented company and crew) all the successes in the world. They certainly deserve them.