"why do people take such pleasure in the fact that it's getting negative reviews?"
Because the fangirls are extraordinarily annoying.
"You just can't win. Ever. Look at the bright side, at least you are not stuck in First Wives Club: The Musical. That would really suck. "
--Sueleen Gay
Agreed. It's rather fun to see the fangirls freak out when someone doesn't just LOVE the Pirate Queen.
I am a firm believer in serendipity- all the random pieces coming together in one wonderful moment, when suddenly you see what their purpose was all along.
Ditto the above-comments. I don't wish ANYONE associated with the show ill - the performers were as good as they could be given the terrible material - which has come from some artists whose past work I've very much admired. Still, the show itself is just not good - if its reviews ARE positive overall, I'm going to start think its the critics who are voting to keep Sanjaya in AI (I know, a mixed metaphor, but hopefully you get what I'm saying).
That's true Taz. But I think the Earth might just explode if Spring Awakening doesn't win Best Musical.
I am a firm believer in serendipity- all the random pieces coming together in one wonderful moment, when suddenly you see what their purpose was all along.
It's really unfortunate because Pirate Queen is one of those shows that has AMAZING potential. Like if they had spent another year or so working on it before bringing it to Broadway, it could be really good. It's going to be shame to see it fail when there is so much good underlying material there. -BJH
I was shocked how talkin' broadway raved about the show! In my opinion, the show was just mediocre and seemed a bit dated with the exception of maybe one or two songs. The performances were great, but my eyes started to close midway into Act I. Maybe the show with Stephanie is a little more powerful. Hope everything is going well tonight, but if the show gets more horrible reviews, it won't be here much longer.
"When a pop culture throwback appears earnestly unaware of how firmly its style and conception are rooted in another era, is it retro or just outmoded? The lumbering epic "The Pirate Queen" comes down on the latter side. As "Les Miserables" creators Alain Boublil and Claude-Michel Schonberg showed with their last excursion into romantically embroidered 16th century historical tapestry, the commercially ill-fated "Martin Guerre," the French composing team's bombastic 1980s megamusical formula now sits stodgily onstage. Their all-plot, no-heart new show is persuasively sung by a valiant cast, yet it never forges an emotional connection with the audience. ________________________________________________________________
The show has plenty of romance, adventure, battles, royal court intrigue and the erosion of a proud traditional culture, yet somehow it remains mostly inert. _______________________________________________________________
All this unfolds over a monotonous first hour, alleviated by the dance segs and some pleasing vocal work on a largely unmemorable score laced with Uilleann pipes, harp, flute and Irish fiddles. There are about 15 I-pledge, I-vow, I-swear songs too many, but Fraser's powerfully emotional tenor sets apart "I'll Be There." Also vocally accomplished, Block makes a feisty, attractive lead, but all the characters remain bland cutouts suffocated by plot. ________________________________________________________________
The sad realization of watching "The Pirate Queen" is not that it's especially bad, but that despite its dense action and wealth of conflict (both of the heart and the sword), it's dull. It's a relief in this context to be jarred out of boredom by the crotch-thrusting, hip-grinding vulgarity and innuendo-drenched lyrics ("I may well have to beach her/Take her inland to teach her") of Chait's act-one song, "Boys'll Be Boys" -- a raucous pub number filled with lusty lads and brassy tarts, which corresponds precisely to "Master of the House" in "Les Miz." Elsewhere, this is a plodding Harlequin historical romance. For all its inflamed passions, it never ignites."
"What a story........ everything but the bloodhounds snappin' at her rear end." -- Birdie
[http://margochanning.broadwayworld.com/]
"The Devil Be Hittin' Me" -- Whitney
"So is everyone still placing an order for the OCR that people here *swore* would be coming out?"
I dunno'... even if the songs aren't up to the Le Miz team's standards (I can't spell their names, sorry)... I mean, it's the guys who wrote Les Miz and Miss Saigon. They're not going to abort a cast album without a fight, at least.
"Y'know, I think Bertolt Brecht was rolling in his grave."
-Nellie McKay on the 2006 Broadway production of The Threepenny Opera, in which she played Polly Peachum
I know this might sound completely random, but I kept thinking of Lestat while I was watching The Pirate Queen. It was one of those shows where I was just bored out of my mind, yet there were maybe one or two moments that got me hooked (well, not in Lestat). The funniest part of going to the show, was when I was walking outside during intermission, one of the ushers told this woman "you need your stub to come back in" and she said "don't worry I'm not coming back. IT STINKS!" I'm not making this up either, I was crackin up. Can't wait for the Times review, but once again I hope the best for the great performers.
Wow...all that negative commenting and nothing from the ever faithful lot of PQ supporters.. I guess the whole wait for the reviews has made it clear...that ship is sinking! My partner owes me for taking me there all those times...
I'm not gonna hate you in the magazines,
(I'm better than that)
I'm not gonna compromise my Christianity,
(I'm better than that)
You know I'm not gonna diss you on the Internet
Cause my momma taught me better than that.