WAR PAINT Previews — Page 11

I actually enjoyed most of the show. The story and historical aspects were very interesting. Excellent performances, too.



Stage seemed very very high though. I was row L of orchestra and could only see a little bit of the performers' feet. Couldn't imagine what it would have been like being in the way Front. Definitely would advise mod to rear orchestra and front mess for seating at this show.

muscle23ftl said: "I haven't seen Amelie, and maybe I will just skip it. After seeing Comet, Groundhog and Bronx Tale...I don't know if I like musical theater anymore...haha. Ugh.



"

Go to see Dolly. You'll fall in love with musical theater again .

muscle23ftl said: "DAME said: "muscle23ftl said: "I haven't seen Amelie, and maybe I will just skip it. After seeing Comet, Groundhog and Bronx Tale...I don't know if I like musical theater anymore...haha. Ugh.



"

Go to see Dolly. You'll fall in love with musical theater again .

I will in July...but I fall in love with musical theater every time I see the glorious Glenn Close and that 50 piece orchestra in Sunset BLVD.



"

Good. That's a thrilling evening as well.

I enjoyed the show very much, but primarily for the opportunity to see Lupone chew the scenery and make meals out of several good songs. It's her show, she has the best lines and songs, and whenever she and Ebersole sing together, she drowns the poor soprano out almost completely. I thought Ebersole's best moment was easily "Pink."

Minuses - the book is meandering and episodic, and (I felt) ultimately pointless; the women's "rivalry" was really trivial, as is the entire beauty industry. The fact that they were wealthy and powerful women is significant, but it's hard to hang an entire musical on that alone (although Coco, Evita, and others already have). The Revson sort-of-subplot is meaningless, and the two duets for Dossett and Sills (one for each act) are extraneous (but the gals need breaks, I suppose). The show is essentially, as has been noted, Diva Worship to the extreme.

Zuber's costumes are terrific, but the four leads have all packed on a good bit of avoirdupois in recent years, and look rather lumpy in them.

I didn't say that people don't pay an inordinate amount of attention to the beauty industry, I said it's trivial, and it is, with a single-minded focus on arbitrary superficiality over personality, morality, and intellect. Much like the fashion industry. They both cater to people who would prefer to look into a mirror than inside themselves.

So, to be more specific, although cosmetics can be very important to some individuals, they are, by definition, "trivial" (synonyms: frivolous, superficial, shallow) - a point very briefly touched upon in the final scene of the show.

Updated On: 3/24/17 at 08:54 AM

BroadwayLuv2 said: "Looking forward to the show tonight!

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Bring a good book.

KIDDING! :)

I was bored but I appreciate reading other reports in case I missed something.

I saw this last week. While I wasn't bored like other posters (I hadn't seen either of the leading ladies before and it was certainly thrilling to hear them perform live), I do understand the criticisms. Every moment of the play seems built to give the two leads the same amount of stage time- I was legitimately shocked when Arden's scene with Revson wasn't followed up by him visiting LuPone, but I guess they made up for that by giving Patti another solo ballad in Act 2.

As for the men, they seemed very interchangeable, and their songs weren't that great. I didn't mind "Dinosaurs", but the choice to have the two men break into actual dinosaur impersonations during it was... odd.

As a woman who has many mixed feelings about makeup, I hope that there will be better ways to tell stories about the industry and how it changed and affected woman through the years. I do suggest seeing it if you have any interest in seeing LuPone or Ebersole live on stage. They both sound wonderful and are perfect fits for the roles.

The first rule of ticket buying is once you make a purchase, stop tracking discounts for that show.

I saw the matinee yesterday, and after a promising opening number, I was disappointed in the overall show. I struggled to keep my eyes open the entire time. I thought the premise was interesting, but I swear every song began to sound the same. I appreciate the work that the actors put into their roles and the stunning costumes, but it's not enough to save this show (IMO).

When Sunset Boulevard was announced, I was upset that Patti LuPone had not been asked to bring it back, especially with Close's less-than-gifted vocals (I know, I know, she's such a gifted actress). But now I see why LuPone does not belong in Sunset Boulevard. She is reigning in a show with a score the likes of which Lloyd Webber couldn't dream of: sophisticated, haunting, and breathtakingly personal. When La LuPone belts (thankfully, most of the show) she does so for a purpose, and you pay as much attention to the lyric as you do to the craft with which this legend sings. And when she moves inward, her quiet longing and pristine voice softens with a control unparalleled in current musical theatre.

And it's no small feat that Miss Ebersole makes just as much of an impression next to LuPone. While her character is less showy, the small nuances she endows with each line gives it a special quality - and her phrasing is out of this world. She knows how to handle a lyric and her clarion voice is one of the wonders of American Theatre. If LuPone makes a meal out of every one-liner, lyric, and facial expression, Ebersole slowly sets the table and decorates the room around it before finally serving the feast for "Pink", her 11 o'clock number and the best song in the score. It is then that War Paint reaches the emotional depths of Grey Gardens.

The score is nothing short of phenomenal, with an astoundingly large orchestra for a new musical and pitch perfect orchestrations that made an impression even in the theatre. I eagerly await the cast recording to digest each of the genuinely brilliant lyrics. There's not a weak number in the score - even the dreaded "Dinosaurs" was tuneful and witty, although it could easily be cut. "Fire and Ice" surprised me with how good it was and each of the solos and duets bring these ladies to their heights. "Now You Know", "Face to Face", and "Beauty In the World" are particularly outstanding. I would actually say this rivals Great Comet for my favorite new score this season (I haven't seen Bronx Tale, Groundhog Day, or Come From Away).

The show itself is unsatisfying and rather episodic for the first act (which has no book scene longer than three minutes), but the second act picks up and moves along with a momentum that was lacking in the first. I wish they had found a better way to dramatize the first act besides them trying to one-up each other. It seemed to simply vamp plot-wise until the fantastic act one finale. All in all, an entertaining and moving evening that had potential to be an examination of women in power and rivalry but stopped just short of it. As it is, it is an exercise in diva worship and I loved every minute of it.

I'm sad this is likely to be bereft of Tony wins. I fully expect nominations for LuPone, Ebersole, score, and costumes (if they're lucky, maybe even Musical). I just don't expect any wins except costumes. Which is upsetting, because I think this is one of the best genuinely original musical we've gotten on Broadway in the past few years (the other being Great Comet). If you are a lover of theatre, run to see War Paint.

GreasedLightning: Having seen both Sunday and Groundhog, I still stand by my sentence. Karl, yes, maybe a little more so, but neither are tasted with having to show as many colors as their female counterparts.

And to say that skincare is 'trivial" is just foolish.

Wonderful article about the show and its ladies!



https://mobile.nytimes.com/2017/03/29/theater/patti-lupone-christine-ebersole-war-paint-broadway.html?smid=tw-nyttheater&smtyp=cur&_r=3&referer=