WAR PAINT - Pre-Broadway Thread — Page 7

Because sometimes compelling theatre can be crafted around people that haven't had their names plastered on every inch of pop culture to the point of nausea??

A Director said: "Elizabeth Arden and Helena Rubinstein are not well-known to theatergoers in 2016. Why would they be interested in seeing a show about them?

Does the show have crossover appeal for women and straight men?"

lots of women like theater just fine without "crossover appeal"

Gypsy101, you state, "lots of women like theater just fine without "crossover appeal""

Yes. On the other hand, your comment seems to imply men don't like theatre. There are gay men who like theatre and there are gay men who don't like theatre. There are straight men who like theatre and there are straight men who don't like theatre.

Most of the posts in this thread tell me little about the show other than it's any evening of Diva Worship. There is nothing wrong with this, but some people might want a little more.

A Director said: "Elizabeth Arden and Helena Rubinstein are not well-known to theatergoers in 2016. Why would they be interested in seeing a show about them?

Does the show have crossover appeal for women and straight men?



Who'd ever be interested in a show about a woman who lost her memory during a medical procedure?

Who'd want to see a musical about a strike in a pajama factory?

How about a musical about having to pay to pee?

Good theater can come from unexpected storylines, whether or not the audience is familiar with the characters or plot.

I didn't mention straight men because in my experience they tend to like theater less than gay men. I didn't think that was a revolutionary point that needed mentioning.

The show has basically been selling out at Broadway prices in a theatre that's almost as big as the Broadway theatre it is likely to transfer to. It may be slightly different in New York when it is competing with more shows, is in a bigger theatre, and in an open-ended run. But it is clear that this show is appealing to a wider audience than gay men who want to worship divas.

As a woman, I will give you my opinion. I did not know anything about Elizabeth and Helena except their names. My favorite shows are ones that are historical and have strong female characters (Side Show, Parade, Ragtime, etc.). Also I had never seen Patti live. So I was excited to see this show. Well...It was great to see the Patti/Christine diva fest and the costumes but...I have to say that the show did not meet my expectations. Although both of these women were strong, overcame adversity and created a legacy, I did not find the story is not intriguing. Grey Gardens was intriguing and haunting. It left me with so many questions about human nature, relationships, mental illness, and on and on. I think this show will find an audience among people who want to see Patti and Christine and women who remember the prestige of the red door salons. **SPOILERS The parts I found most interesting were: Elizabeth's facial masks that used electricity, how they doubled sales by putting the same makeup in two different colored jars, that Helena wasn't allowed to buy an apartment because of anti-Semitism, when World War II caused rationing of supplies the ladies became creative to keep their businesses alive, the fact that Helena had many portraits made of herself and why and the heartbreak of having to sell them, the Revlon subplot and the power of television

It's hopeless with "A Director." He's one of Patti's biggest haters and will do anything to bash a show that she's part of. He was brutal during 2008's Gypsy.

Mister Matt said: ". If, in fact, you are a director, I find it rather odd that you would pose this question. It's like the oft-posted question, "Why is this necessary?". It seems to exist only to be contrary and devoid of actual critical thought."



He is only doing this to try to tear down something that Patti LuPone is involved with. He is known for this, I am sure the old posts still exist. It's best to just ignore him like we tried doing during his relentless tirades against LuPone during Gypsy.

Forget Hamilton, how many Americans in 1979 had any idea who Eva Peron was? People didn't avoid Evita because they didn't know who she was.

I just finished Lindy Woodhead's book War Paint, on which the show is based. I knew the names Arden and Rubinstein, of course, but not that they were business tycoons on a global scale from as far back as the 1920s. Not to mention the obvious fact that they were women in a time when women were rarely in charge of anything, much less corporate empires of their own design. They created an industry that really didn't exist before, both immigrants—starting with almost nothing but shrewdness and a will to succeed. Add to that, the fact they were in direct competition and spent the better part of their careers attempting to one-up each other. Sounds like a fascinating subject for a musical to me!

I think most theater goers like to learn something new while they are being entertained, and won't be put off by their unfamiliarity with the backgrounds of Arden and Rubinstein.

As for the inferences to gay diva worship that isn't objective, I would have to say the audiences were primarily older straight couples and college theatre students the two nights I saw it. Standing Os both nights. You all know when a show feels like a gay Pride event with your gaydar going off left and right. This did not have that feel. These were mixed audiences.

The music is very, very good and the story is one not many people know. It's also compelling. Like I said, I went with a female friend who abhors musicals and she really enjoyed it and we had a lot to talk about after.

Dinosaurs could definitely be cut and I think some of the choreography could be punched up to be more thrilling.

icecreambenjamin said: "Is there a standout song in this show like Another Winter in a Summer Town or like Tuesdays, Thursdays?"





Slight spoilers.



We get dual Big Numbers from both leading ladies leading up to the climactic scene that are maybe not independently gorgeous in the way Another Winter is, but are really damn good showcases. Christine has "Pink" as she is about to sign over her company, and it's a lovely and moving number, as she wonders if her life's work is just a color that will serve as a commodity for someone else. Patti's sounds like just another ballad when you read the title, "Forever Beautiful," but it's something more interesting, dark, and fun, as she goes through all the paintings and sculptures great artists have immortalized her through.

The second act's songs were more memorable to me than the first's, but this score is up to the level of quality and sophistication I expect from these writers.

Updated On: 7/5/16 at 12:08 AM