Waitress Previews — Page 6

Dancingthrulife2 said: "They literally howl whenever someone belts a high note. Imagine the whole house CHEERS in the middle of She Used to Be Mine... Ugh... That's what happened tonight and it immediately got me out of the scene. Of course it's not the fault of the creatives, but still..."



I saw the first preview on Friday and have been totally lurking in this thread. I totally thought the audience over-reactiveness was just me being grumpy, but I'm glad other people noticed it.



I totally agree that the music is wonderful and I'm glad that I went in unspoiled so I didn't have an attachment to Sara Bareilles singing the songs. I thought Jessie Mueller was wonderful and I do hope she gets recognition for her performance in the role.



The book definitely needs work though. I felt the whole storyline with Jenna/Dr. Pomatter was really rushed. That may just be because I feel like the chemistry between Jessie Mueller and Drew Gehling is a bit lacking? Did anybody else see/feel that, or is just me?


I'll be very curious to see how the show shapes up throughout the preview process and what its "final state" is going to be like

Sorry if this has already been discussed but what is the current running time? My friend and I may see this for the last Friday night preview followed by sleep no more and I'm wondering what entry time we will be able to make for SNM.

Thanks! I think we'll do 11:15 SNM then.

Seems to be selling well! I really hope this is a hit.

https://www.broadwayworld.com/article/WAITRESS-Breaks-House-Record-at-Brooks-Atkinson-Theatre-Tickets-Now-on-Sale-Into-2017-20160328

IdinaBellFoster said: "Seems to be selling well! I really hope this is a hit.

https://www.broadwayworld.com/article/WAITRESS-Breaks-House-Record-at-Brooks-Atkinson-Theatre-Tickets-Now-on-Sale-Into-2017-20160328


Does this mean our chances of a rush policy just got even smaller?

Daddy Warbucks said: "I heard some people had standing room only seats. Is that something they only offer during previews, or, if there is enough demand, would it be typical for a show/theatre to offer SRO after opening night?"

Standing Room seats are pretty common for theatres that can accommodate it spacewise, and that have a show that's selling out. This would be true after opening as well.

Daddy Warbucks said: "Thanks NJ_BroadwayGirl. Apologies for all the questions on such an insignificant topic, but does standing room only mean the audience member is actually standing, or does it mean they pull out some fold-up chairs and place them in the back or sides of the house? "

You're welcome! I'm pretty sure it's actually standing - in the back of the orchestra.

Updated On: 3/28/16 at 05:03 PM

Really hoping they still have rush tickets. I'm coming up in May and want to see the Sunday matinee, but not trying to pay full price.

airconway said: "Really hoping they still have rush tickets. I'm coming up in May and want to see the Sunday matinee, but not trying to pay full price.



"

If you don't mind sitting in the mezz I just bought a ticket for mid May for $59 plus fees. (with code)

Mind sharing the code? I may concede and get two.

airconway said: "Mind sharing the code? I may concede and get two.



"

I believe it's ART1.

I just bought a $99 orchestra seat with that code for this Friday. I saw the first preview of the show in Cambridge, and I know it's changed quite a bit, so I'm excited.

I'm a huge fan of Sara Bareilles and Jessie Mueller's. I hated the movie. HATED it. But...

I LOVED THIS. Had such a wonderful, moving night. Could 10 minutes be trimmed? Sure. Do they need to be? Not really. All of the performances are wonderful, with Christopher Fitzgerald stopping the show and Keala Sette singing her heart out. But Jessie Mueller is so astonishing. Easily one of the best performances I've seen all year. And incredible as Erivo is in The Color Purple, I think Jessie's performance is more impressive.

Loved the set, loved the costumes, the lights, etc. Choreography isn't impressive but it works for the show. Jessie though... And that score... Wow.

i don't understand the comments that say Jessie doesn't shine until "She Used To Be Mine". I thought it was a mesmerizing, 2.5 hour master class. And that first act number that replaced "Door Number Three" is INCREDIBLE. And she nails it...

Can't wait to see it again!

I was at last night's preview and I really enjoyed myself. There may have been a few faults here and there, but I honestly couldn't tell you what they were because I was so blinded by that megawatt bulb of brilliance known as Jessie Mueller. I've always liked Mueller, but I think Waitress is the first time where she truly gets to show off just how deeply talented she is. She was already wonderful at ART, but now she's operating on a whole new level and I can't get enough. A friend I went with me texted me last night to say we need to go back to the box today and purchase our next set of tickets; the only correction I need to make is next sets and not set. Yes, Mueller is worth every penny.



I like a lot of the changes made from the Boston run. I was happy and relieved to see those awful little waiting room songs had been cut. It really helped keep the focus on the main characters rather than waste time with unimportant things. (Although, you can give me all you want of Nurse Norma, who simply steals every moment she is on stage. They A) need to let her bow in her nurses uniform and B) give her a separate bow. She more than earned it.)



Chris Fitzgerald is a big improvement over the actor that played Ogie at ART. Whereas I thought "Never Getting Rid of Me" came off as stalker-y and creepy out of town, I think Chris finds the right balance of persistent, nerdy and hopelessly in love. I also think Kimiko Glenn's Dawn is far less resistant to his advances, which helps matters too.



Keala Settle's boisterous performance plays much better in a larger house and she scored with all of her zingers and one-liners. Glad to see her back at the Brooks!



Someone above said they didn't think Mueller had much chemistry with Gehling, and after Boston I would have totally agreed. When they replaced three of the lead actors before the New York run I was a little surprised they didn't replace Gehling too- he was perfectly fine before, but without the spark between the two leads the show was lacking the believability of their affair. But last night I thought Gehling and Mueller were ready to tear each other's clothes off for real; It Only Takes a Taste was particularly steamy. He has settled into the role very nicely.



Poor Nick Cordero sure has one of the most unlikeable characters currently on the Broadway stage to play. He shades the role better than his out of town counterpart, but let's face it, we're never going to "understand" or like the guy. The part seems smaller here, and that's fine by me.



The score is catchy and tuneful- that OBCR can't be released quickly enough. The book is strong too and I think this is going to end up being a crowd-pleaser and turn into a hit.



Do you think we could have the first three-way tie for a Tony this year? Benanti/Mueller/Erivo?