WAR PAINT - Pre-Broadway Thread — Page 8

can a picture of the title page of the playbill be posted?

Can be and has been, a couple pages earlier in this thread.

I think MissAnneThrop meant the title page inside of the playbill, not the cover.

I have been hearing about this for a while now (mostly on social media from David Korins, set designer for this as well as Hamilton) and after seeing a brief NYT article yesterday (http://www.nytimes.com/2016/07/10/theater/patti-lupone-and-christine-ebersole-in-a-battle-of-lipstick-titans.html) finally decided to book a trip to Chicago. Just read through this thread (skipping spoilers) and now super excited to see the show on 7/31!

For what it's worth, the mezzanine seat (I think row G) I bought was reasonable. Came out to $50 with fees --- though I think I got charged a slightly higher fee once I put in my NY address? Is that something out-of-town theaters do? Not a big deal as I think it was only a difference of a few dollars, but curious.

Saw it on Saturday and I think there's still a lot of work to be done on the story before it's ready for Broadway.

The performances were stellar (Patti's comedic chops are excellent), I loved the costumes, and I really liked the score. However, the story itself is a problem. It reads more as small vignettes throughout the lives of Rubenstein and Arden and not a fully arced show.

Now, it's possible that was what they were going for, but my friend and I left the show trying to figure out what the point of the musical was. Yes, these are two strong women who are eventually passed on by by the new and changing world of cosmetics, and yes, they are two women who were rivals (although, for all the talk of their rivalry, after the first few songs- and the FDA moment at the end of Act 1- there isn't much evidence of the rivalry save for some lines of dialogue thrown around near the end). There needs to be a clear conflict. Is it their rivalry? Is it the FDA? Is it the passage of time/failure to adapt? The show jumps between all of these elements so quickly and without fully developing them that I wasn't sure what the point was.

There is a show here, and with this cast and creative team it can be a really good one. But it just needs more focus.

So I’ve ‘heard’ a couple of songs from the show. I don’t think I’ve had the experience necessary to provide too many thoughts (and feel free to stop reading there if you feel so inclined), but I will say that the leads seem very appropriately cast and the material highlights their strengths. I couldn’t imagine a “La Cage revival” situation (not that it ever happened anyway) where the leads would ever want to (or at least, could ever want to) swap. LuPone’s character seems dominant, funny, brass, brash (sounds a bit like the real person) while Ebersole’s character seems more restrained and elegant (again, based on limited information though).

I’ll be momentarily annoying and say that I think Bernadette could step into Ebersole’s role if necessary (but not LuPone’s). And I admit up until recently I almost wished Ebersole could have contracted one of the diseases she is likely not vaccinated for* (or the infamous van that hit Jan Maxwell during Follies could have made a reappearance) so that Bernadette could be brought into the show.

*Of course, I’d never wish this upon her. But my god I can tell I would hate her as a person based on her political views – right-wing and anti-vaccine, skeptical towards anti-biotics. If anyone happens to be a fan of her, stay away from her twitter!!


However, I doubt there are many people (including Bernadette) that could exceed or even match what Ebersole is doing with her 11’O Clock number “Pink”. Someone asked earlier if there is another standout song like “Another Winter” or “Tuesdays, Thursdays”. Yes there is – this is it. The song reminds me a lot of “Another Winter” (but is still very different). I often have claimed that no one can do vulnerability like Bernadette can, but if I had to make an exception it would be for Ebersole.

The song starts off as a very vulnerable/nostalgic reflection (think the tone of Will You?), gradually building in strength and momentum with soaring melodies and several key changes, becoming more passionate/overwhelmed (Ebersole getting to show off her wonderful belt) only to become more restrained once more. There is more going on than conveyed in this description (for example, I absolutely love this small moment towards the end of the song where she starts listing different shades of pink in an affected way that becomes gradually off-beat. It feels like such a natural expression of emotion rather than something that has probably been carefully planned and rehearsed).

In comparison, LuPone’s 11’O Clock number ‘Forever Beautiful’ is very different. Musically, it’s much more dissonant and darker than Ebersole’s song. It’s perhaps not something that is quite as easy listening/pleasant/melodic as ‘Pink’. The vamping throughout the song reminds me of Kander & Ebb. There is less going on musically for me in this song than Pink. However, It’s probably a good thing to have such contrasting songs, and LuPone ends the song with the kind of note that based on the applause to the song, people are paying to hear (the song might have even had slightly louder applause than Pink.).

I’m going to the US next April (can’t wait to see Dolly; Dear Evan; CSC Pacific Overtures among others). I’m eagerly waiting for a Broadway transfer and want to buy a ticket as soon as possible! Please theatre gods, make it happen.

Updated On: 7/13/16 at 06:36 PM

I saw it last night. I imagine by friday the show will be frozen if it isnt already to prepare for the opening on monday. Sure a few minor tweaks will be needed between now and New York but I thought it was a wonderful evening of theatre. Both women were in top form. I agree with the assessment many have made that Ebersole's Arden is a little more eloquent and restrained wheras Patti's Rubenstein is quick witted and brash. Dossett and Sills do hold their own against both women, and while their material and stage time is similiar I found Sills to especially rise above and found him quite memorable despite him never being the focus. I actually find act 2 to be the superior act in terms of action as well as the score. "Now You Know" was haunting and was for me the turning point when I truly realized I was watching something special. Both 11 o'clock numbers are perfect suited for both the roles as well as the women playing them. The line about never liking the color pink at the end of the song is back in and got a huge ovation. I know its been addressed that moment was played with a bit. "Forever Beautiful" brought down the house. It's easy to think of Patti getting more acclaim due to her role being flashier and having numerous jokes that are really landing but Ebersole serves as such a perfect foil. And the final scene when they meet, while it may have never happened I found it a perfect culmination for the evening that the audience desperately needs. I was just offered an invite to the opening so it looks like I'll be going back again on Monday and I cannot wait!

Have both leads been consistently doing all performances? We're considering a Sunday evening performance, but would prefer not seeing the understudies for this show.

Jshan05 said: "I saw earlier in the thread that both ladies don't do the stage door...is this still true? Hoping to meet them if at all possible. If they don't do the stage door, can someone let me know where the exit from?"


I saw most cast members exiting from the main doors of the theatre when I went, but didn't see Lupone or Ebersole leave. I was out front chatting with a friend for about 25 minutes after the show.

I saw it Wednesday night, and liked it very much. I liked "Dinosaurs"; I was happy the 2 men got a song of their own. I thought "Better Yourself" was pretty weak, though I could see it made sense for what it said about Elizabeth.

I was surprised by the beginning - the scrim going up, and the two women sitting on stage at their dressing tables. For a show that's such a vehicle for the two leads, I really thought they should each have gotten a much better entrance. The audience seemed frustrated by it too - both actresses got entrance applause when they came onstage for their first songs after the prologue, as well as right at the beginning.

I very much liked how the Goodman handled the pre-show announcement - it was funny and entertaining, not just the usual "turn off your phones", but was very clear that phones should be off, not just muted. And the ushers went up and down the aisles also being clear that phones should be turned off, both before the show and at the end of intermission, when the announcement was also repeated. And it seemed to work; I didn't see or hear a phone all night, and I can't remember the last time that happened to me at a musical in the U.S.

JeaniusIsMe said: "Jshan05 said: "I saw earlier in the thread that both ladies don't do the stage door...is this still true? Hoping to meet them if at all possible. If they don't do the stage door, can someone let me know where the exit from?"


I saw most cast members exiting from the main doors of the theatre when I went, but didn't see Lupone or Ebersole leave. I was out front chatting with a friend for about 25 minutes after the show.



I was told by security LuPone and Ebersole will not enter or exit the front of the theatre. They have car service and are picked up in a secure area.

Saw it Friday night and loved it. Both ladies are exceptional. Reading comments about replacing Ebersole with someone like Bernadette Peters: shouldn't happen, sorry. Ebersole is simply radiant in this role, which I'm sure was tailor made for her by the Grey Gardens folks. She is a great match for LuPone.

The number that desperately needs to be cut is the Dinosaurs number. It adds nothing. Or at least improve it. I never bought that these two men would be reduced to making silly dinosaur noises.

The War Paint number also needs to be punched up a little.

But the other numbers: great showcases for the talent involved.

I saw it Friday night and enjoyed it a lot, largely because of the two leads (not to look too far into the future, but this is a show it's really hard to see surviving without two very charismatic and well-known stars). As others have noted, the men are not very interesting (I'd either like more of them or a lot less of them, since the only thing that distinguishes them now is that one's gay and one isn't). It definitely feels like the work of the "Grey Gardens" team -- and, as in that show (which I love, btw), it seems odd to me that there are many solos and a couple duets for the female leads but virtually no numbers in which they work with the chorus. I'm not asking for "Sit Down You're Rockin' the Boat" but it would be nice to have a song or two that involved the prominent characters with the chorus.