#76
Posted: 7/9/14 at 2:04pm
Funny that you also mention Esper/Gideon's jacket. One of the reviews, Chris Jones I believe, said it made him look like Bill Sikes. Creatives: change the damn jacket.
The Last Ship - Chicago — Page 4
#77
Posted: 7/9/14 at 2:23pm
Curious as to what this moment you are referring to is? I can’t think of what it might be.
***SPOILERS***
The father's accident and subsequent actions. The choreography of the slo-mo fall and then the cast holding him up and changing his costume (which I found a bit trite and unnecessary) seemed to imply the result of a great physical disability. Seconds later, the father jumps up out of his chair and physically assaults his son. Whahuh? Was there a great amount of time that passed and he regained his strength? Was he not terribly physically disabled? Were they just holding him up and changing his clothes for pointless visual effect?
I do think you hit the nail on the head regarding the focus of the story. PERSONALLY (so there is NO confusion), I would have found the story more interesting if Meg were the focus. Have the story open with the pub denizens discussing their plight and then in walks Gideon. Gideon's backstory could be provided through Meg's (and the town's) reaction and she could have a song of remembrance giving insight to her conflicting emotions and their past. Gideon's current conflict is mostly self-induced and unsympathetic. Meg's conflict and the shipyard dilemma are far more interesting and immediate (though the character of her boyfriend is woefully cliche and slight). The priest had the best writing and direction, though his song in the pub could be cut in half. I honestly don't remember much about Sally Ann Triplett's character other than she was the wife (or fiance? girlfriend?) of an ex-shipbuilder and she led the best number in the show.
I believe Matt mentioned that he had a hard time deciphering what the sets were supposed to be, but I had no problem with that.
The dock (?) set at the end of the first act (and how it "moved") was what I found most confusing. The ever-present rusty ship was impressive in scale and detail, but the use of the ship set and then the "ship" set really seemed to contradict each other (and the final set just didn't succeed in resembling what it should).
I did like the last moment in the first act. The boot angst epiphany didn't do much for me, however. Or rather, for me this is not good.
***SPOILERS***
The father's accident and subsequent actions. The choreography of the slo-mo fall and then the cast holding him up and changing his costume (which I found a bit trite and unnecessary) seemed to imply the result of a great physical disability. Seconds later, the father jumps up out of his chair and physically assaults his son. Whahuh? Was there a great amount of time that passed and he regained his strength? Was he not terribly physically disabled? Were they just holding him up and changing his clothes for pointless visual effect?
I do think you hit the nail on the head regarding the focus of the story. PERSONALLY (so there is NO confusion), I would have found the story more interesting if Meg were the focus. Have the story open with the pub denizens discussing their plight and then in walks Gideon. Gideon's backstory could be provided through Meg's (and the town's) reaction and she could have a song of remembrance giving insight to her conflicting emotions and their past. Gideon's current conflict is mostly self-induced and unsympathetic. Meg's conflict and the shipyard dilemma are far more interesting and immediate (though the character of her boyfriend is woefully cliche and slight). The priest had the best writing and direction, though his song in the pub could be cut in half. I honestly don't remember much about Sally Ann Triplett's character other than she was the wife (or fiance? girlfriend?) of an ex-shipbuilder and she led the best number in the show.
I believe Matt mentioned that he had a hard time deciphering what the sets were supposed to be, but I had no problem with that.
The dock (?) set at the end of the first act (and how it "moved") was what I found most confusing. The ever-present rusty ship was impressive in scale and detail, but the use of the ship set and then the "ship" set really seemed to contradict each other (and the final set just didn't succeed in resembling what it should).
I did like the last moment in the first act. The boot angst epiphany didn't do much for me, however. Or rather, for me this is not good.
"What can you expect from a bunch of seitan worshippers?" - Reginald Tresilian
Updated On: 7/9/14 at 02:23 PM
#78
Posted: 7/9/14 at 2:55pm
***SPOILERS THROUGHOUT***
Ah, yes, I do remember the father’s accident section and agree. In fact, when the accident was initially mentioned I thought he had died, until it followed with the changing of his costume (which I did enjoy the movement of). I, too, was then further surprised that he could suddenly leap out of his chair and physically abuse his son when I had been under the impression that he was likely severely disabled (possibly paralyzed). I assume the reasoning behind including the accident is to put even more pressure on Gideon to now begin work at the shipyard to take care of the family, but, since we were able to see that his father was clearly not bed-ridden, I almost think they could cut the fact that his father had an accident and simply have his father pressuring him to grow up and begin to earn a living.
Completely agree that centering the story around Meg would be much more interesting (and we would then see Gideon’s story as it relates to her, but it wouldn’t be the main focus). We could then see more of the shipyard dilemma, her understanding why she wasn’t able to fully move on from Gideon (and his return now lets her do that), and then her acceptance to let her son sail with his father (and trust that, unlike Gideon, Tom would return to her). If I had it my way, Meg would definitely be the central character (my suggestions on the shifting of focus earlier were an attempt to make a suggestion that could possibly still keep Gideon as the central character as it’s quite doubtful that this is something that will be changed).
All that being said, while I think these changes could make it an excellent musical, I do still think that the musical as-is is solid.
The dock (?) set at the end of the first act (and how it "moved") was what I found most confusing.
You mean the outside of the shipyard (with the fence moving forward)? If this is what you are referring to, I think the movement was just so that we could see the workers storming it (since, usually, the gate to the shipyard was usually set at the back of the stage).
I definitely think the boot song is one that can be cut. I think his discovery of the boots in the box is plenty – the song itself just tells us the same thing over and over as the moment he finds them does.
Ah, yes, I do remember the father’s accident section and agree. In fact, when the accident was initially mentioned I thought he had died, until it followed with the changing of his costume (which I did enjoy the movement of). I, too, was then further surprised that he could suddenly leap out of his chair and physically abuse his son when I had been under the impression that he was likely severely disabled (possibly paralyzed). I assume the reasoning behind including the accident is to put even more pressure on Gideon to now begin work at the shipyard to take care of the family, but, since we were able to see that his father was clearly not bed-ridden, I almost think they could cut the fact that his father had an accident and simply have his father pressuring him to grow up and begin to earn a living.
Completely agree that centering the story around Meg would be much more interesting (and we would then see Gideon’s story as it relates to her, but it wouldn’t be the main focus). We could then see more of the shipyard dilemma, her understanding why she wasn’t able to fully move on from Gideon (and his return now lets her do that), and then her acceptance to let her son sail with his father (and trust that, unlike Gideon, Tom would return to her). If I had it my way, Meg would definitely be the central character (my suggestions on the shifting of focus earlier were an attempt to make a suggestion that could possibly still keep Gideon as the central character as it’s quite doubtful that this is something that will be changed).
All that being said, while I think these changes could make it an excellent musical, I do still think that the musical as-is is solid.
The dock (?) set at the end of the first act (and how it "moved") was what I found most confusing.
You mean the outside of the shipyard (with the fence moving forward)? If this is what you are referring to, I think the movement was just so that we could see the workers storming it (since, usually, the gate to the shipyard was usually set at the back of the stage).
I definitely think the boot song is one that can be cut. I think his discovery of the boots in the box is plenty – the song itself just tells us the same thing over and over as the moment he finds them does.
#79
Posted: 7/9/14 at 4:14pm
***SPOILERS***
You mean the outside of the shipyard (with the fence moving forward)? If this is what you are referring to, I think the movement was just so that we could see the workers storming it (since, usually, the gate to the shipyard was usually set at the back of the stage).
No, that was the part I liked. It was when they lifted part of the floor to create the curved hinged...dock?
All that being said, while I think these changes could make it an excellent musical, I do still think that the musical as-is is solid.
Unfortunately, that is where I wildly disagree. To me, the show never solidified.
You mean the outside of the shipyard (with the fence moving forward)? If this is what you are referring to, I think the movement was just so that we could see the workers storming it (since, usually, the gate to the shipyard was usually set at the back of the stage).
No, that was the part I liked. It was when they lifted part of the floor to create the curved hinged...dock?
All that being said, while I think these changes could make it an excellent musical, I do still think that the musical as-is is solid.
Unfortunately, that is where I wildly disagree. To me, the show never solidified.
"What can you expect from a bunch of seitan worshippers?" - Reginald Tresilian
#80
Posted: 7/10/14 at 5:40pm
Interesting article by Chris Jones about tryouts, Chicago audiences and comments on how to change (or not change) The Last Ship:
http://www.chicagotribune.com/entertainment/ct-last-ship-audience-opinion,0,2098789.story
http://www.chicagotribune.com/entertainment/ct-last-ship-audience-opinion,0,2098789.story
#81
Posted: 7/10/14 at 8:30pm
I saw the show again yesterday and aside from some exposition, it doesn't really seem to have changed at all from the first time (the second performance) I saw it. It is less dreary so that's a positive but it's still not ready for Broadway. In the Chicago Tribune article by Chris Jones, one of the people he quotes says that the show is not about Sting as some people think. If the show is not about Sting why do BOTH male leads sound exactly like Sting? You can't think of anything else, it's just like being hit over the head by Sting!
It will be fascinating to see what NY audiences think of this one. I wish them all well as they leave Chicago.
It will be fascinating to see what NY audiences think of this one. I wish them all well as they leave Chicago.
#82
Posted: 7/16/14 at 2:34pm
If you've been waiting for Broadway discount codes, your SHIP has come in (get it?)... err...
THM1
Sept 29 to October 25 $85
October 27 to December 21 $99
Orchestra and front mezz.
THM1
Sept 29 to October 25 $85
October 27 to December 21 $99
Orchestra and front mezz.
#83
Posted: 7/17/14 at 9:35am
Thanks for sharing. BroadwayBox seems to have the same discount under their own code as well, BOX1
Tickets From $59
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Tickets From $71
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