#1
Posted: 10/6/05 at 3:01pm
Saw "The Light in the Piazza" yesterday for the second time and thought I'd give a little review.
I saw the show in its first preview and immediately knew that it would change Broadway today as we know it. It is about time that something comes along that makes you think "Why did she do that?" "Why is she saying that?" Not "How high can she belt?" "What riff is she going to do tonight?" or "Let's see who can woot the loudest when she enters!" This show is solid. And there is no tampering with it each night, as some actors do in their respective shows. The actors gave the same performances they did six monthes ago. No one looked bored and no one was tampering with Adam Geutell's amazing score. I caught the matinee which was filled mostly with the older crowd. I figured it would be a typical matinee, no much applause, not many laughs, not a great audience in general. Boy, was I wrong! The lights went down and the theatre erupted! The hysterical pre-show announcement got a nice round of applause as well. When Victoria Clark entered it was not as though U2 just entered the stage, as happens at most shows, instead the audience acknowledged her with a round of short applause. Not much has changed since previews. The show is gorgous. Kelli O' Hara and Victoria are very convincing as the mother and daughter team, traveling in Italy for the first time. I was tentative about liking the new Fabrizzio, Aaron Lazar, but boy! he can sing!! His Fabrizzio wasn't much different from Matt's but you can tell that Aaron is more classiclly trained, on the high notes. Chris Sarandon was another great addition as Signor Naccarrelli. THe rest of the cast is flawless, espeically Sarah Uriarte Berry and Patti Cohenour who are hysterical as Franca and Signora, respectively. This is a show that worked for and deserved the standing ovation it got, instead of the normal obligatory one. If you're still with me and understand what I just said: Thanks!
I saw the show in its first preview and immediately knew that it would change Broadway today as we know it. It is about time that something comes along that makes you think "Why did she do that?" "Why is she saying that?" Not "How high can she belt?" "What riff is she going to do tonight?" or "Let's see who can woot the loudest when she enters!" This show is solid. And there is no tampering with it each night, as some actors do in their respective shows. The actors gave the same performances they did six monthes ago. No one looked bored and no one was tampering with Adam Geutell's amazing score. I caught the matinee which was filled mostly with the older crowd. I figured it would be a typical matinee, no much applause, not many laughs, not a great audience in general. Boy, was I wrong! The lights went down and the theatre erupted! The hysterical pre-show announcement got a nice round of applause as well. When Victoria Clark entered it was not as though U2 just entered the stage, as happens at most shows, instead the audience acknowledged her with a round of short applause. Not much has changed since previews. The show is gorgous. Kelli O' Hara and Victoria are very convincing as the mother and daughter team, traveling in Italy for the first time. I was tentative about liking the new Fabrizzio, Aaron Lazar, but boy! he can sing!! His Fabrizzio wasn't much different from Matt's but you can tell that Aaron is more classiclly trained, on the high notes. Chris Sarandon was another great addition as Signor Naccarrelli. THe rest of the cast is flawless, espeically Sarah Uriarte Berry and Patti Cohenour who are hysterical as Franca and Signora, respectively. This is a show that worked for and deserved the standing ovation it got, instead of the normal obligatory one. If you're still with me and understand what I just said: Thanks!
"I don't wanna see that!" -Aunt Sassy (as played by Valerie Cherish) on Room & Bored
I didn't like Aaron Lazar's high notes. They sounded forced and uncomfortable, and to be frank, unpretty. Which isn't really a word, I think.
