What are the chances of THE VISIT transferring? — Page 3

I think the entire problem with this show is that it's a revenge musical where nobody wins at the end. The play is an agitprop diatribe about greed. It's a moral lesson about what happens when puritanical opinions ruin another person's life. Chita's character is not a character, she's a device to make a point. And having a non-character as the lead in your musical spells trouble.

You can add as much backstory as you can stuff in to make her sympathetic (which Doyle has apparently done in the new revisions), but you can't make her likeable.

"Dear World" has the same problem. The Madwoman is not a character, she's a device to make a point about environmentalism.

I love "The Visit" and "The Madwoman of Challiot" as plays with a moral lesson, but in a musical, you need characters who have something to sing about, not devices.

That said, I hope it tranfers, because, well, Chita.

ZiggyCringe, may I respectfully disagree on a few of your points?
"I think the entire problem with this show is that it's a revenge musical"
it's not about revenge!

"where nobody wins at the end."
I think some people do win at the end.

"The play is an agitprop diatribe about greed. It's a moral lesson about what happens when puritanical opinions ruin another person's life."
the play may well be about that, but we're not discussing the play, we're discussing the musical. I feel people's knowledge and expectations of the play are different from what the musical sets out to achieve.

"Chita's character is not a character, she's a device to make a point"
I think Claire Zachanassian is a rich, full character.

Truly, the way this show divides people fascinates me. In my opinion, that's the mark of great theatre!

It's meant to be in the spirit of Brecht from what I can discern. (I'll see it this weekend and draw my own conclusion, but it sure looks and sounds like a Brecht piece.) Now, Brecht is known enough that the approach could work artistically. I'm really not sure how this would hold up with a commercial audience. While it's true that smaller, darker pieces have succeeded, they weren't, as you put it, quite so high-brow. This of course begs the question of whether it could work in a subscription/non profit house. I think it could. But I really have reservations about the marketability of it as a commercial piece.

I know that because I studied theater history. However, if you look at the design elements, they look like Brecht. I think that was what they were going for.

Oh, I wasn't questioning your knowledge; simply looking a bit askance at the notion that The Visit, although not a Brechtian piece, might be adapted as a Brechtian piece (coincidentally by the same team that adapted I Am A Camera as a Brechtian piece), because in America, we often think of Germany as all-Brecht, all the time.

I will say that that this does feel Brechtian for more reasons than just the set design, though I can't completely place my finger on it. I think it has to do with the atmosphere of the piece. And I absolutely adore DEAR WORLD and I agree with the assessment on how it is similar, but I don't find that to be a problem for either show, though I don't like THE VISIT quite as much as DEAR WORLD.

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I saw it tonight and pretty much loved it. Sure, it's dark, bleak, and shocking, but it's not once boring. I felt enthralled throughout the entire show. It's not K&E's best score, but this musical is much better than garbage that I've seen on Broadway. "Yellow Shoes" is easily a modern K&E classic. "Winter" is haunting, I wish it were longer. I love darker material/musicals, therefore I instantly felt enchanted by the piece. Parts of Chicago, Spider Woman, and Scottsboro Boys could be felt throughout the show; it has that "in your face" aspect to it.
Chita is simply stunning. It's hard to take your eyes off of her; she is SO believable in this role. I enjoyed seeing her dance with her younger self in "Love and Love Alone." Is that new for this production?
Rees is also fantastic. They are both giving strong performances that are worthy of Tony nominations.
Doyle's direction and style was so fitting for the piece, it felt perfectly matched. I also loved the sleek set and costumes.
I would LOVE to see this on Broadway, but it would certainly not last commercially. It is so fitting for Roundabout. It deserves a life after WTF.

Updated On: 8/6/14 at 01:18 AM

Just one?

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I always thought she should play Dolores in
<--
That show

(edit: because I changed my profile picture, I should tell you that at the time of posting this, it was a poster for THE WILD PARTY)

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Updated On: 8/8/14 at 01:32 PM

It does seem perfect for roundabout. It would be prestigious for them to present a new musical with Chita "from the writers of Cabaret". I suppose any nfp could pick it up too.

What is Chita's entrance like?

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Don’t delay. Motor, hitchhike or bike it up to the picture postcard Berkshires pronto, and see this unforgettable production of The Visit before it gets to Broadway.

Well that's an encouraging final line.

Someone on ATC said there's a 90% chance that it'll transfer after Christmas. I hope so!

I saw it again tonight on a whim because a front row center aisle seat opened up this morning! I must say that it's even better on a second viewing. It is SO Broadway ready. Everything about it feels right and ready for a transfer.

I truly can't say enough about Chita's performance. It would be so easy for her to play it with camp, but she gives an understated performance, and her acting is just shockingly good. If you didn't know Chita, you would think that this woman had a career in straight plays. She has total command of her character, she embodies the character so well that it's easy to forget that you are watching the legendary Chita Rivera. She could easily win a Tony for this, but I'm sure that 2015 is likely going to be Kelli O'Hara's year.
Roger Rees is doing such strong work, and his acting completely makes up for his lack of singing chops. Also, I'd like to give a special mention to Jason Danieley. Depending on the season, he could score his first Tony nomination. He gives a heartbreaking performance, and has one of the best solos in the entire show.

Again, Doyle's slick direction really brings this piece to life. My only minor complaint would be that in typical Doyle fashion, he robs three showstoppers (Yellow Shoes, The Only One, and Love and Love Alone) of applause. The older audience members seemed confused by Doyle's lack of applause breaks, and some tried clapping over dialogue after certain songs.
I love the chilling staging of the finale; it's reminiscent of parts of Doyle's Road Show staging, but I won't spoil it.
If this fabulous production does transfer, I predict that I will see it many times. It will be interesting to see Broadway's reaction to it.

Updated On: 8/14/14 at 12:48 AM