#1
Posted: 7/14/05 at 3:53pm
Where to begin? I'll start with the technical aspects of the show which swept the Tonys.
-The Sets: The set design for this show is easily the best on Broadway right now and is one of the best I’ve ever seen. It is so creative and awesome. It really, truly does the best it can of transporting one to Italy. The sets take advantage of the depth of the stage (as they should) and really put you into the piazza. A very well deserved Tony win.
-The Lights: A bit disappointing. They were really nothing special. I enjoyed how they used the lights to show the duomo, I believe. I must say, however, that the scene in which Clara runs away from home towards the end and the stage is cleared and the backdrop is flooded with white is truly breathtaking. So, for that scene's lighting alone, I'd give the Tony to Posner even though his designs for Wicked were more worthy of the Tony, in my opinion.
-The Orchestrations: Gorgeous. They really complimented Guettel's lush and lovely score. Another well deserved Tony.
-The Costumes: Again, gorgeous. Zuber really did a wonderful job of working with Yeargan to bring the audience to Italy in the '50s as much as possible. Innovative yet classic.
-The Direction: Here, I thought the show faltered the most. The direction was the only thing that failed in bringing the audience to Italy. It didn't capture the hustle and bustle of the town squares very well although the more intimate scenes were stunning.
-The Book: I wasn't totally convinced by Lucas' book. It was a little uneven, at least for my taste. It started off a bit slow and boring and at times seemed a bit repetitive but, when Lucas knew what he was doing with a scene, he took full and complete advantage of it. I really enjoyed Margaret's moments in which she speaks with the audience. I also loved the conflict scenes where the characters are arguing and bickering (including the telephone conversations between Margaret and Roy and the argument in Rome between Margaret and Clara). Overall, I'd give the book a B.
-The Score: Well, here we go. Overall consensus for the score on the board is praise and worship but most critics dismissed it and yet it still won the Tony. I had purchased the OBC and enjoyed it very much the first go-around but with the exception of a few songs, I found myself not able to listen to it over and over like I am with most of the OBCs and RCR's of this past season. I went in a bit reluctant about Guettel's score but came out totally and utterly convinced that it was one of the most beautiful and gorgeous score I'd heard in years. It must be seen/heard live and in context to be understood and appreciated fully. It does seem a bit too mushy and as one person said "lovey-dovey" at times but the melodies are irresistibly lovely. Grade: A-
The Performances:
-Victoria Clark: If I were a producer of this show, I would bill it as 'The Light in the Piazza: AKA The Victoria Clark Show'. She gave the single best performance I'd even seen on a stage. She was funny, touching, real, raw, and while she didn’t have any huge, "Motown" numbers to deal with as Tonya Pinkins did last year in Caroline, or Change, she does deal with the lush songs she has to sing extremely well. If an award were to be given out to an 11 O’clock number, I would personally give it to Lot's Wife which had me awestruck in CoC but then again, as previously mentioned, Clark has a much lower stamina role and quieter, more classical songs to sing even though her 'Fable' was beautiful and rawly dramatic. This was a performance I will never forget. She was inexplicably phenomenal.
-Kelli O'Hara: A very lovely performance. I didn't enjoy it as much as some of the people on this board did but her singing is beautiful and her acting skills are very good. I just guess she was eclipsed by Clark's performance, at least in my mind.
-Matthew Morrison: Sheesh, Link's come a long, long way. He came, he sang, and boy did he deliver. His Italian is gorgeous and had all of the women around me swooning and his singing voice has developed greatly since Hairspray. Although he and Dan Fogler were playing two TOTALLY polar opposite roles, I would still have to give the Tony to Fogler who was exceptionally funny and entertaining but with Morrison very close behind. He was wonderful.
The rest of the cast including Mark Harelik & Sarah Uriarte Berry were top notch.
The only little complaints I have are:
1) I agree with Margo, who in his review stated that *SPOILER* Clara was a bit too normal for a girl with a mental issue *END SPOILER* and I wasn’t too sure who to blame, Lucas, Sher, or O'Hara.
2) The relationship between the two lovers didn't seem as developed as much as it should and could have been. People around me were laughing when *SPOILER* Clara and Fabrizzio agree to wed because we hadn't seen their love grow as much as we could have. *END SPOILER*
Overall, 'Piazza' is a musical for the ages. I applaud it for its boldness and fresh realness. From the very moment the hat is blown off of Clara's head and caught by Fabrizzio, I was sold. That scene as well as the scene in which Clara is running through the piazza flooded in white light were two of the most amazingly breathtaking scenes I’ve ever witnessed, live theater or otherwise. I left Piazza feeling something I rarely feel after a show. I felt inspired and profoundly moved. Flaws and all, I give this show FOUR STARS. It is so rare that a musical this gorgeous comes to Broadway and makes it big time. I highly recommend this show.
-The Sets: The set design for this show is easily the best on Broadway right now and is one of the best I’ve ever seen. It is so creative and awesome. It really, truly does the best it can of transporting one to Italy. The sets take advantage of the depth of the stage (as they should) and really put you into the piazza. A very well deserved Tony win.
-The Lights: A bit disappointing. They were really nothing special. I enjoyed how they used the lights to show the duomo, I believe. I must say, however, that the scene in which Clara runs away from home towards the end and the stage is cleared and the backdrop is flooded with white is truly breathtaking. So, for that scene's lighting alone, I'd give the Tony to Posner even though his designs for Wicked were more worthy of the Tony, in my opinion.
-The Orchestrations: Gorgeous. They really complimented Guettel's lush and lovely score. Another well deserved Tony.
-The Costumes: Again, gorgeous. Zuber really did a wonderful job of working with Yeargan to bring the audience to Italy in the '50s as much as possible. Innovative yet classic.
-The Direction: Here, I thought the show faltered the most. The direction was the only thing that failed in bringing the audience to Italy. It didn't capture the hustle and bustle of the town squares very well although the more intimate scenes were stunning.
-The Book: I wasn't totally convinced by Lucas' book. It was a little uneven, at least for my taste. It started off a bit slow and boring and at times seemed a bit repetitive but, when Lucas knew what he was doing with a scene, he took full and complete advantage of it. I really enjoyed Margaret's moments in which she speaks with the audience. I also loved the conflict scenes where the characters are arguing and bickering (including the telephone conversations between Margaret and Roy and the argument in Rome between Margaret and Clara). Overall, I'd give the book a B.
-The Score: Well, here we go. Overall consensus for the score on the board is praise and worship but most critics dismissed it and yet it still won the Tony. I had purchased the OBC and enjoyed it very much the first go-around but with the exception of a few songs, I found myself not able to listen to it over and over like I am with most of the OBCs and RCR's of this past season. I went in a bit reluctant about Guettel's score but came out totally and utterly convinced that it was one of the most beautiful and gorgeous score I'd heard in years. It must be seen/heard live and in context to be understood and appreciated fully. It does seem a bit too mushy and as one person said "lovey-dovey" at times but the melodies are irresistibly lovely. Grade: A-
The Performances:
-Victoria Clark: If I were a producer of this show, I would bill it as 'The Light in the Piazza: AKA The Victoria Clark Show'. She gave the single best performance I'd even seen on a stage. She was funny, touching, real, raw, and while she didn’t have any huge, "Motown" numbers to deal with as Tonya Pinkins did last year in Caroline, or Change, she does deal with the lush songs she has to sing extremely well. If an award were to be given out to an 11 O’clock number, I would personally give it to Lot's Wife which had me awestruck in CoC but then again, as previously mentioned, Clark has a much lower stamina role and quieter, more classical songs to sing even though her 'Fable' was beautiful and rawly dramatic. This was a performance I will never forget. She was inexplicably phenomenal.
-Kelli O'Hara: A very lovely performance. I didn't enjoy it as much as some of the people on this board did but her singing is beautiful and her acting skills are very good. I just guess she was eclipsed by Clark's performance, at least in my mind.
-Matthew Morrison: Sheesh, Link's come a long, long way. He came, he sang, and boy did he deliver. His Italian is gorgeous and had all of the women around me swooning and his singing voice has developed greatly since Hairspray. Although he and Dan Fogler were playing two TOTALLY polar opposite roles, I would still have to give the Tony to Fogler who was exceptionally funny and entertaining but with Morrison very close behind. He was wonderful.
The rest of the cast including Mark Harelik & Sarah Uriarte Berry were top notch.
The only little complaints I have are:
1) I agree with Margo, who in his review stated that *SPOILER* Clara was a bit too normal for a girl with a mental issue *END SPOILER* and I wasn’t too sure who to blame, Lucas, Sher, or O'Hara.
2) The relationship between the two lovers didn't seem as developed as much as it should and could have been. People around me were laughing when *SPOILER* Clara and Fabrizzio agree to wed because we hadn't seen their love grow as much as we could have. *END SPOILER*
Overall, 'Piazza' is a musical for the ages. I applaud it for its boldness and fresh realness. From the very moment the hat is blown off of Clara's head and caught by Fabrizzio, I was sold. That scene as well as the scene in which Clara is running through the piazza flooded in white light were two of the most amazingly breathtaking scenes I’ve ever witnessed, live theater or otherwise. I left Piazza feeling something I rarely feel after a show. I felt inspired and profoundly moved. Flaws and all, I give this show FOUR STARS. It is so rare that a musical this gorgeous comes to Broadway and makes it big time. I highly recommend this show.
