The Wild Party Opens This Week — Page 3

Seeing this tomorrow, but I don't think it's fair to call the "sound" of the show lazy. I mean, Les Miz has guitar riffs and actual riffs in it. Yet it's stylistically appropriate. I don't think any of those things are out of place in this version. Lippa was going for a pop/rock influence, which is probably why most young musical theatre performers prefer his version over the other. Because to a modern ear it sounds better. No diss on the other Wild Party, but I think this show is Lippa at his finest (and that's saying a lot).

I think there's a big difference between what Les Miz is setting out to accomplish with its score and the tone that Lippa's Wild Party is aiming for.

At no point in Les Miz are they attempting to create an authentic 18th Century french sound. It never attempts to be period, but rather a stylized pop-opera. That's what makes the score work for me; I would never label it anachronistic, even though technically it is.

The Wild Party on the other hand does make attempts to have a 1920s sound and vibe at times. The pop/rock sound feels (to me, at least) at odds with the material because Lippa doesn't fully commit to the modern sound in the way Les Miz or Jekyll & Hyde commit to their pop stylings. LaChiusa didn't write a bunch of patische numbers, but it nonetheless sounds more authentic to the period and characters than the Lippa version.

PS I guess they offered Pasquale South Pacific at Lincoln Center but he needed Wednesday matinees off for Rescue Me and they could not work it out. I am guessing he was offered the Mathew Morrison role (correct me I am wrong). Pasquale was also offered Light In The Piazza...so if he had taken those roles Mathew Morrison might have had a longer journey to fame...

I actually love the fact that the score is a mix of 1920s and contemporary. It really works for me! Love the score!!

This reminds me of "Women On The Verge...", when they cut the opening and moved "Madrid" to the top of the show. A lovely number for sure, but adds no set-up or emotional investment, just plops us right in the action.

I think QWAB and Out of the Blue were some of the best parts of the score and set the story/characters up fantastically, so I'm disappointed to hear this.

Seeing this on Friday, and hoping to enjoy it nonetheless.

Updated On: 7/16/15 at 02:27 AM

I'm an idiot, but I guess I wasn't paying much attention and assumed this was the LaChiusa version. I watched that TheaterMania clip wondering how I didn't recall any of this awful, pedestrian music from the original production. Glad to know that I'm not losing it... completely.

I went last night. Some scattered thoughts:

--I know some people on here and over on All That Chat have mentioned sound/diction problems. From where I was sitting (second row grand tier), I didn't encounter any issues understanding people, and I didn't find the mix to be overly loud.

--Sutton Foster is, indeed, rather miscast. She works her tail off to overcome it, but this will not go down as one of her most successful performances. I agree with the poster who said that her costume and wig were a little too reminiscent of her Reno Sweeney garb.

--Steven Pasquale is quite possibly the best musical theater actor working, and I say that without hyperbole. I don't have words to describe that voice. And he managed to be genuinely thrilling and terrifying, even in that cave of a theater.

--This is a breakout performance for Joaquina Kalukango, whose versatility astounds me.

--Brandon Victor Dixon is all wrong for Black. Wrong voice, wrong style, absolutely no air of mystery, menace, danger.

--Great to see Miriam Shor on stage again, although her voice sounded somewhat diminished.

--The ensemble is largely solid.

--I forgot how much I disliked this score, which I don't think I'd even heard since seeing it at MTC all those years ago. And all of the changes are for the worse. As another poster points out, Lippa doesn't even try to do anything period-specific, and some of his lyrics are laughably bad. However you feel about Lachiusa, at least he achieved the mood and style of the story through his music.

Updated On: 7/16/15 at 08:03 AM

I would argue that there is character-specificity (and some period-specificity) to john & jen, although I don't find that score overly successful either. But other than that, Kad, I am in complete agreement. There is little artistry or understanding to Lippa's music.

I was there last night, it was a good night, but I just don't think the material is very good. I mean, if the likes of Sutton Foster can't lift it, but that said it had it's moments and it's impressive for something that has been put together in such a short space of time. I honestly, would watch Pasquale sing a phonebook or menu, so for me he stole the show, he really needs to do something back on Broadway soon, I kind of want him to do the Annie Get Your Gun concert with Megan Hilty too.

I'm seeing it tonight, and couldn't be more excited. I know I'm in the minority here, but I've always preferred Lippa's score. I'm sure the cuts will annoy me, (and the lack of How Did We Come to This)... but it's not going to ruin the performances, which is really what I'm going to see. Miscast or not, I always love Sutton, and I haven't stopped thinking about Steven Pasquale since Bridges. Joaquina Kalukango looks killer, and I love almost anything Sonya Tayeh does, so I feel like I'm in for a great night. I'm thrilled that I got a ticket.

Did anyone see the 2000 production with Julia Murney, Brian d'Arcy James, Taye Diggs, and Idina? Just curious

Wild!

"Changing so much of the material when there's only a 6 day rehearsal period (and therefore very little time to see what works and what doesn't, and no time to change it if it doesn't) seems a little misjudged.

I was really looking forward to seeing how Sutton tackled Out of the Blue. It really is a shame that the changes weren't more minor!"

Watch this video and Lippa talks about what inspired him to cut songs and so many changes. Thank a lot Stephen Sondheim LOL it starts 3:42 in the video.

Also there is a section where Branden Victor Dickson talks about adding his own riffs in the songs and will add even more once the show opens that Lippa does not know about :/ that starts at 11:32

https://www.broadwayworld.com/videoplay.php?colid=1056165