Theatre Talk: In Our Own Little Corner

[SilverShadow]

I would call the box office. Also you can stalk the performer in question on twitter. Normally you can get a refund/exchange if the performer's name is listed above the show's title and they're out. If they aren't, it's less likely.

[Rick Kitchen]

The Chicago theater community has been rocked by several deaths in the last week.  Actors Molly Glynn and Bernie Yvon this weekend, WGN theater guru Roy Leonard, actors Sati Word and Trinity P. Murdock, and props designer Joel Lambie have all died in the span of a week.

[Rinaldo]

I heard about those, Rich Kitchen . It's just dreadful, and being from Chicago originally myself, I know what a vibrant and close-knit community Chicago theater is. Those who are experiencing all those losses are much on my mind.

[Sharpie66]

Chicago really is an amazing theater town--so many non-Equity and Equity productions in storefronts as well as big theaters all over town and in the suburbs.

[SilverShadow]

Saw Cabaret over the weekend. I loved pretty much the whole cast except Michelle Williams. I can't say she was bad exactly, but they really ramp up the gin-soakedness, where she's almost stuttering a lot, and she's sort of abrasive in this way that's a real turn off. I've seen the movie, listened to Natasha Richardson, and seen bits of other performers, and yeah, the choices made just do not work for me. IMO Sally needs to have a certain amount of charisma to explain how she charms Cliff and the audience, and WIlliams' just doesn't appeal. I can understand why reviews were divisive and some might like that take, but I didn't like it.

[aradia22]

Isn't Emma Stone about to take over the role? I don't know where you're based, SilverShadow, but do you think you'd go back to see Stone? Of course, the direction might be the same... resulting in a similar performance.

[SilverShadow]

She is and I may. I'm a Hiptix member and that's how I went last time. Of course my brother is one too, and he was my guest this past time, so we may try and go back. But as much as I disliked Williams, she didn't ruin the show for me at all. Alan Cumming was phenomenal, I loved the actors for the older couple, and Cliff's actor actually kinda stole the show. As a character he normally comes off kinda bland for me, so I was pleasantly surprised. He was charismatic, sympathetic, funny, and had a bit of a small town Prince Charming quality that really gelled very nicely. But yeah, if I didn't know how it ended, I'd have been rooting for him and Bobby to run away together.

Edited September 10, 2014 by SilverShadow

[aradia22]

How does Hiptix work? I think I signed up a while ago. I'd pay $25 to see Emma Stone in Cabaret. 

[SilverShadow]

Here ya go! Basically once you're sigend up you just call the box office and they'll find you seats you're eligable for.

[aradia22]

 

Dennehy and Farrow will appear in the production September 13 through October 10. Burnett will then step in for Farrow and play opposite Dennehy October 11 through November 7. Alda and Bergen will take over November 8 through December 5. Keach and Rigg will play December 6 through January 9, 2015. Huston and Sheen will then play January 10, 2015 through February 1.

For those interested in Love Letters... http://www.broadway.com/buzz/176991/tickets-now-on-sale-for-starry-broadway-revival-of-love-letters-with-brian-dennehy-mia-farrow-anjelica-huston-more/

[aradia22]

Is anyone else planning to check out the Broadway Flea and Grand Auction on the 21st? I've never been before. Not too interested in the photo/autograph booth this year but I'm interested in seeing what they'll be selling at the tables. 

 

This seems like an amazing auction bid to win. I hope they earn a lot of money for it. https://www.biddingforgood.com/auction/item/item.action?id=222177148

This prize is also a-mah-zing. https://www.biddingforgood.com/auction/item/item.action?id=222460596

 

Also, eep! Andrew's only going to be in Hedwig until the middle of October? Must find a way to get tickets... http://www.broadway.com/buzz/177361/dexter-star-michael-c-hall-ready-to-slay-broadway-audiences-in-hedwig-and-the-angry-inch/

[Rick Kitchen]

Andrew is being replaced by Michael C. Hall.

[Sara2009]

Andrew is being replaced by Michael C. Hall.

That sounds amazing!!! I'm sure he'll be great.

[aradia22]

Oh, and I couldn't find the Dirty Dancing thing on Lifetime here but this clip made me laugh so I thought I'd share it. http://www.broadway.com/buzz/177386/sneak-peek-learn-how-to-do-the-sexy-dirty-dancing-lift-on-broadway-balances-america/

[Kris223]

My people! So glad I found this thread. My favorite show is Les Mis - first Broadway show I ever saw and it's just got...something.

 

Have tickets for It's Just a Play next month - love, love Nathan Lane. And over the summer I saw Lady Day - agree with whoever said upthread there's nothing Audra McDonald can't do and If/Then (which I also saw in D.C. - they did make some smart editing choices). Both were terrific. Bummed I didn't get to see Violet.

 

I did see Catch Me If You Can (have I mentioned I'm a pretty big theatre geek?) and NBL and Aaron Tveit were both amazing. The dancing NBL does is terrific and kind of unexpected. Was really glad he won the Tony that year.

[SilverShadow]

My Dad and brother saw Catch Me after dropping met at the aiport one time. I still have not forgiven them. I've wanted to see Norbert live in something forever and I keep missing him.

[aradia22]

[Sara2009]

I 've heard not so great things about Aaron Tveit's acting, but that score was perfect for his voice.

[aradia22]

Well, I am locked in for the encore of The Merry Widow at the movie theater. Hopefully there's no snowstorm... or monsoon rain like last time. Still trying to figure out how I want to budget between Broadway, 92Y, Met Live in HD, etc. 

[Julia]

On the play Design for Living itself: I've read and seen it, and it's not all that explicit that the two men "slept together" slept together, either. I guess it couldn't be, at that date. The implication is certainly there for those awake to it, when they both show up in pajamas in the last scene having hung out together the night before and just crashed in the apartment. The whole play, I find, doesn't live up to what one hopes for in advance: something daring and and racy for the period. People stand around and talk talk talk for the longest time, then they re-pair and go off, and it happens again in a later year in a new combination in a different city. It must have largely served as a vehicle for the charisma of three star performers (the author and the Lunts).

 

You know, it's interesting - I saw Paul Gross and Kim Catrall do Private Lives on Broadway. It sort of failed to gel for me, because I saw Kim Catrall playing in Darren Star's Private Lives, while Paul Gross was doing Noel Coward's. What was kind of a revelation to me was the air of sexual menace Paul Gross gave to Elyot (at one point, Elyot shuts Victor up and leaves him reeling and silent for the rest of the scene by giving him a big kiss on the lips, and there was defintely more that a suggestion that Amanda riled him up because she liked him dangerous - not a very politically correct author, Coward). That edge really resonated with me as something that Noel Coward wrote into the part, and certainly something I could absolutely see him injecting into a performance across from Gertrude Laurence. 

 

So yeah, I think after Ben Hecht put his own hypermasculine spin on it and they handed it to prominent volume heterosexuals Gary Cooper and Fredric March, there would be precious little subtext left in the movie, but I can see it in the play.

[aradia22]

Send me a direct message if any of you are going to the Broadway flea. Otherwise, barring any weather inconveniences, I will report back on Sunday night.

[aradia22]

Sigh... Apparently there won't be any singing in Younger. http://www.broadway.com/buzz/177559/sutton-foster-on-getting-glam-being-26-again-not-singing-in-her-new-sitcom-younger/

 

Also, I injured myself so I may not be able to make it out to the Broadway Flea tomorrow.

[Rinaldo]

I wouldn't have imagined there ever would be singing on Younger. There isn't on sitcoms as a rule, and if people actually can do it they're all the wiser to avoid it (Hal Linden never vocalized a peep through all those seasons of Barney Miller).

[aradia22]

Is anyone else watching the Emmy Thompson concert version of Sweeney Todd (I think at the NY Philharmonic)? Super underwhelmed. I think I've mentioned this but Green Finch and Linnet Bird, Johanna, and Kiss Me are my favorite songs from the show and the Anthony and particularly the Johanna were not up to par. Also, it was really clear who was putting on an accent though Christian Borle was kind of amusing. Don't know what Audra was doing. I can only assume they had very little rehearsal. If this was my first encounter with Sweeney Todd I wouldn't understand why people like it. Glad my real first encounter was Cerveris/Lupone.

 

Oh, and the Anthony is one of the guys cast in On the Town.

[Rinaldo]

Whereas Cerveris/LuPone would put me off the show forever. I think Anthony's excellent in this (vastly better than Davis Gaines in the last concert televising of this show, for one, and also superior to Victor Garber 2 of the 3 times I saw him onstage in it) -- Jay Armstrong Johnson has been having quite a breakthrough year. I don't find anything wrong with Erin Mackey either. And what a treat to finally hear a first-rate voice as Sweeney Todd. 

[aradia22]

I've tried but I really dislike the Skivvies. I think their blend is off (vocally) and their song arrangements assault my ears. But I fell in love with Lauren Molina's voice after seeing her as Johanna. 

 

 

Edited to add that I don't have a perfect performance of Anthony that I can point to but I have a perfect version of Johanna (the song) in my head. I vaguely remember this period when I was looking up youtube covers of a bunch of Broadway songs including Johanna and If Ever I Would Leave You. I can't remember if I ever found a really great one.

Edited September 27, 2014 by aradia22

[Charlie Baker]

I've had Sweeney burnout for a while--no desire to see the piece again.  But the prospect of Terfel and Thompson in these roles drew me enough to put it on the DVR. Now, as to when I watch it...dunno.

[Sara2009]

Is anyone else watching the Emmy Thompson concert version of Sweeney Todd (I think at the NY Philharmonic)? Super underwhelmed. I think I've mentioned this but Green Finch and Linne

t Bird, Johanna, and Kiss Me are my favorite

songs from the show and the Anthony and

particularly the Johanna were not up to par.

Also, it was really clear who was putting on an

accent though Christian Borle was kind of

amusing. Don't know what Audra was doing. I

can only assume they had very little rehearsal. If

this was my first encounter with Sweeney Todd I

wouldn't understand why people like it. Glad my

real first encounter was Cerveris/Lupone.

Oh, and the Anthony is one of the guys cast in On the Town.

What did you dislike about Jay Armstrong Johnson? The little I've seen from him( in other stuff) doesn't really impress me.

[aradia22]

Sara, I didn't dislike him that intensely. It's more like you said... he didn't really impress me. I think he's handsome and he's perfect for that kind of young second male lead part. But his voice didn't wow me and his accent was a bit off. I like tenors who almost sing like baritones or are baritones who can access a higher register and bring that rich, full sound to their performances. Actually I feel that was about everyone from sopranos down to basses. I like a nice rounded, resonant sound. That kind of sound that seems to enter my own chest and makes goosebumps rise on my arms. 

[Sara2009]

He comes off as sort of bland to me.

[Rinaldo]

He comes off as sort of bland to me.

I've never seen an Anthony who didn't. The part is written that way, to the extent that even a determined actor can't seem to make it otherwise (plus half of them can't sing it -- it's in that tricky baritenor tessitura). Jay Armstrong Johnson has shown in his other work that he's anything but bland; in The Most Happy Fella he was the rowdiest, randiest Herman I've seen (while still doing justice to the comedy and the difficult music).

[Sara2009]

I've never seen an Anthony who didn't. The part is written that way, to the extent that even a determined actor can't seem to make it otherwise (plus half of them can't sing it -- it's in

that tricky baritenor tessitura). Jay Armstrong

Johnson has shown in his other work that he's

anything but bland; in The Most Happy Fella

he was the rowdiest, randiest Herman I've seen

(while still doing justice to the comedy and the

difficult music).

I was actually talking about in other things. I haven't seen his Anthony.

Blandness is so subjective, though. My favorites have been called that from time to time too.

[aradia22]

Ah!!! Lady Day is closing October 5! Will I miss another Broadway show? Still kicking myself for Violet and Heathers. I've never been the biggest Billie Holliday fan. I'm more of a Ella Fitzgerald, Carmen McRae, Lena Horne kind of girl but still... it's Audra.

 

Roundup of Broadway.com stories I found interesting.

http://www.broadway.com/buzz/177693/christian-borle-brian-darcy-james-more-set-for-workshop-of-broadway-aimed-something-rotten/

The plot of this makes no sense to me. But that cast though...

http://www.broadway.com/buzz/177679/new-musical-waterfall-inspired-by-thai-novel-eyes-broadway-with-bie-sukrit-wisetkaew-as-its-star/

I have yet to get into Maltby and Shire though I'm sure I'll be obsessed once I do. I'm always happy to see more diversity on Broadway though so this immediately grabbed my attention. When are we going to get Allegiance?

http://www.broadway.com/buzz/177701/santino-fontana-more-stage-favorites-join-musical-comedy-crazy-ex-girlfriend-pilot/

On the one hand... Santino Fontana. Also, Aline Brosh McKenna wrote Laws of Attraction which is one of my guilty pleasure rom-coms (fantastic cast) and 27 Dresses which is tolerable if a bit insane in parts. On the other hand... she also wrote The Devil Wears Prada as well as other movies of questionable quality and I don't have Showtime so I know I say I watch everything musical on TV but I probably won't be watching this.

http://www.broadway.com/buzz/177417/thank-heaven-howard-mcgillin-corey-cott-will-join-vanessa-hudgens-in-broadway-bound-gigi/

They're going to put old age makeup on Howard McGillin, right? He's totally not old enough for the Maurice Chevalier part. Right? RIGHT!?! Still can't feel positive about a Vanessa Hudgens led Gigi.

http://www.broadway.com/buzz/177703/more-imelda-carlos-celdrans-livin-la-vida-imelda-chairs-and-a-long-table-tapped-for-off-broadway/

Chairs and a Long Table sounds interesting. Kind of in the way that plays often sound interesting but I'm never going to plop down $60+ to see them.

[aradia22]

For any Allegro fans out there...

 

How do you solve a problem like Allegro? Richard Rodgers and Oscar Hammerstein were the most successful Broadway team of all time, but not everything they wrote was a hit: Between Carousel and South Pacific came this 1947 flop, a high-concept musical that spanned decades in one man’s life. Many have dreamed of fixing it since—most famously, Stephen Sondheim, on whom it exerted a major formative influence. Now director John Doyle (Sweeney Todd) takes a stab in a rare revival at Classic Stage Company, starring Claybourne Elder and Elizabeth A. Davis as the central couple. Nov 1–Dec 7

http://www.timeout.com/newyork/blog/six-off-broadway-musicals-to-see-this-fall

 

The description for Found didn't grab my attention but the cast does.

 

Broadway cultists have a fond place in their hearts for Hunter Bell, who charmed the pants off audiences in the adorably metatheatrical [title of show]. His new project, written with director Lee Overtree and ace songwriter Eli Bolin, is based on Davy Rothbart’s magazines and books about misplaced or discarded missives. The cast of ten musical-theater risers includes Nick Blaemire (Godspell), Barrett Wilbert Weed (Heathers), Orville Mendoza (Peter and the Starcatcher) and—in an overdue Off Broadway debut—cabaret sensation Molly Pope. Sept 18–Nov 9

Oh, and can someone please explain to me how to... or really just tell me what's on the schedule for Great Performances and Live From Lincoln Center. I swear they couldn't make it harder to figure out.

[Rinaldo]

I've always been intrigued by Allegro, after it was published in that little Modern Library volume alongside the other first five R&H titles. I've now seen it twice: in the first season of Encores (back when they really were pretty much concerts; they maybe should give it another shot), at in a revised version with a new Joe DiPietro book at Signature Theatre VA. Neither one worked, and I've provisionally decided that it's unfixable (and John Doyle is unlikely to be the one to change my mind). We may be better off with the excellent recent complete studio recording, and imagining our own ideal production.

[Milburn Stone]

I've always been intrigued by Allegro, after it was published in that little Modern Library volume alongside the other first five R&H titles. I've now seen it twice: in the first season of Encores (back when they really were pretty much concerts; they maybe should give it another shot), at in a revised version with a new Joe DiPietro book at Signature Theatre VA. Neither one worked, and I've provisionally decided that it's unfixable (and John Doyle is unlikely to be the one to change my mind). We may be better off with the excellent recent complete studio recording, and imagining our own ideal production.

 

You remind me of my experience seeing Anyone Can Whistle in a semi-staged performance with Audra McDonald, Patti LuPone, and Michael Cerveris at Ravinia outside Chicago. I came away saying, "Oh, now I get why it only ran 9 performances..."

[Charlie Baker]

I too have always been intrigued by Allegro and got the opportunity to see the recent, modestly scaled revival by the Astoria Performing Arts Center. (I thought that might be preferable to seeing what John Doyle might do to/with it.) That production made a good case for the show--but yep, the second act is a big problem.  

[Rinaldo]

You remind me of my experience seeing Anyone Can Whistle in a semi-staged performance with Audra McDonald, Patti LuPone, and Michael Cerveris at Ravinia outside Chicago. I came away saying, "Oh, now I get why it only ran 9 performances..."

Yes, that's very much the Allegro situation: prestigious author(s), interestingly stylized theatrical premise different from the rest of their work, commercial failure leading to the impression that they were "ahead of their time." But (IMO) that's really not it, they're just not artistically successful at what they're attempting. Which doesn't mean they're devoid of interest, of course. I did a guest blog entry on the Encores! Anyone Can Whistle (Sutton Foster, Raúl Esparza, Donna Murphy), trying to figure that one out.

[Charlie Baker]

Theater Close Up premiered on NYC Channel 13 last night with a performance of the (very good) Mint Theater production of John van Druten's London Wall.  The show will present videoed performances of recent work by leading Off-Broadway companies, and the forthcoming episodes also look very good. It's only being broadcast in the NYC metro area, ASAIK, and only streamed on thirteen.org web site for those in the area, but it would be great if eventually this gets around to other PBS outlets to demonstrate that there is more to NY theater than Broadway.

 

Jonathan Bank, the AD of Mint, said in a post-play interview on the show that he thought this play worked for TV because of its naturalism, implying that works with other approaches may not do so well. 

[Sharpie66]

Love the shut-out to [title of show]!! It was directed by a classsmate of my sister's from high school, Michael Berresse. They were two years ahead of me, and I was in a h.s. production of Agatha Christie's Appontment with Death with him (I was the evil stepmother who got offed halfway through, he was the native tour guide). Sis and I saw a touring production of Fiddler on the Roof in 1989, and we saw him in the Playbill, and followed his Broadway career since. It was great seeing him cast as Zach in the Chorus Line revival.

ETA: My hometown of Joliet, Illinois, had a spate of entertainment figures emerge from the 1980s. Michael Berresse graduated from Joliet Catholic in '82, Andy Dick from Joliet West in '84, John Barrowman also from West in '85 (he and Andy were best friends, and I knew Andy from an acting class in the summer of '83), and then Melissa McCarthy ifrom Joliet Catholic in '88.

Edited October 5, 2014 by Sharpie66

[Rinaldo]

Multiple thumbs up to the Broadway revival of On the Town, currently in previews. Great score, great performances, amazing dancing from a large cast, and orchestra of 28! All in one of the most roomy and comfortable of Broadway theaters. I'm trying to calculate when I can make the trip to go again.

[aradia22]

 

 

Jane Alexander & Erika Henningsen Board Show Boat

Tony winner Jane Alexander will play Parthy with Erika Henningsen as Kim in the New York Philharmonic’s semi-staged production of Show Boat. They join the previously reported Norm Lewis, Alli Mauzey and more at Avery Fisher Hall November 5 through November 8. Don’t worry if you won’t be able to make the show—the production will be telecast on PBS (air date to be announced later).

Yay! Thanks, PBS.

 

 

They say one in seven Broadway shows pays back, but both of yours were hits!

Frankly, some of those seven shows shouldn’t be on Broadway. For my money, there really are some ideas that are terrible ideas, so with regard to that one-in-seven success rate, you could argue that half of those should never have been produced.

Also, this was a great response from Brandon Victor Dixon. Did I mention I saw him at that preview for Rocky? ;) http://www.broadway.com/buzz/177833/brandon-victor-dixon-on-coming-home-to-the-scottsboro-boys-in-london-his-side-gig-as-a-bway-producer/

[aradia22]

Question: Out of curiosity, where is it your preference to sit in a theatre (you know, barring price restrictions and whatnot)? Are you an orchestra person? Balcony? Those box seats on the side? If you have to choose between sitting closer to the center but farther back or in a closer row but off to the side what do you go with? Are there theatre configurations that you absolutely hate (e.g. a steep incline in the balcony so you feel like you're on top of the performers)?

[Milburn Stone]

Question: Out of curiosity, where is it your preference to sit in a theatre (you know, barring price restrictions and whatnot)?...Are there theatre configurations that you absolutely hate (e.g. a steep incline in the balcony so you feel like you're on top of the performers)?

 

As for likes...since you said "barring price," my inclination, for a musical I really want to see, is to pay through the nose if I must in order to sit in my ideal seat, which is in the orchestra between rows 4 and 8 in the center. Partly this is because I want to hear as much of the live sound of the pit band as possible. (The way things are amplified these days, you're hearing processed sound even if you're sitting in the first row, but the closer you are, the more live sound you'll usually hear in the mix. And also, the more centered the seat, the farther away I am from a speaker, and that's how I like it.)

 

I justify the "paying through the nose" part by saying to myself that I don't go to that many musicals a year. And some years go by without my attending any. So when I do go, I'd rather pay a premium and get the most out of the experience.

 

As for places to sit that I hate, I've enjoyed musicals from all sorts of places in the theater, but the one area I dislike is the rear half of the orchestra, under the balcony. It's the under-the-balcony part that is the deal breaker, not the distance from the stage. And again the reason is acoustics. Having the underside of the balcony overhead means I'm being cut off from the reverberant sound of the auditorium. The sound can't bloom there. It's dead. 

 

For "straight plays" (i.e. non-musicals), none of these considerations applies. I can be pretty much happy with the closest, most centered available seat, and also fine with the sides or the back, mezzanine, balcony, etc. (In a traditional raised-stage theater, I prefer not to sit in the first couple of rows because I don't want to crane my neck, but will take this if it's all that's available.)

Edited October 9, 2014 by Milburn Stone

[Charlie Baker]

I am not overwhelmingly fond of rear mezzanine or balcony.  Sometimes front mezz or balcony can be better seats than parts of the orchestra.  I also do not like extreme sides of orchestra seats.  But if I want to see the show badly enough I will take what I can get or afford.  On that note, I've done standing room and most of the time it's been fine.

[Rinaldo]

I've been lax in not mentioning that I saw the new Broadway revival (still in previews) of On the Town, music by Leonard Bernstein, book & lyrics by Betty Comden & Adolph Green, from 1944. In a word: highest recommendation. See it if you can.

 

Director John Rando and choreographer Joshua Bergasse have given it what it needs: charismatic and gifted stars, a stageful of brilliant dancers for the many extensive ballets (originally staged by Jerome Robbins), inventive design (much of it via animated projections) by Beowulf Borrit, an orchestra of 28 for the original orchestrations by Hershy Kay, Don Walker, and Ted Royal, and lots of the right sort of spirit. I'm tempted to go on and on, but I'll just mention the three amazing gentlemen who play the three sailors on 24-hour shore leave (unlike the original production, they all dance a lot in addition to singing well and being delightful and magnetic): Tony Yazbeck, Clyde Alves, and Jay Armstrong Johnson. 

 

It's way back on page 2, so I hope I'll be forgiven for re-posting the wonderful on-location promotional video for this production, with those three guys and the full orchestration:

 

[aradia22]

I don't pay much attention to the theatres I'm in as much as the shows so I don't remember if I've been in the same theatre in a different seat before. I think odd seats can be memorable. For Good Vibrations I sat in one of those box seats on the side for the first time and I could see the performers running back and forth and doing quick changes in the wings so that was fun. There was also a lifeguard tower as part of the show so I was super close to the performer sitting in it. For Mamma Mia I was off to the side but in the front row right next to the speaker. I still loved the show but it was deafening. I'm kind of glad it was ABBA because I think it had more of a concert vibe than a musical, whereas if I'd been sitting next to giant speakers for Sondheim... eh. I think I sat in the third row for South Pacific at Lincoln Center and that was brilliant. I sat super close to the stage for one 92Y concert. That was a lot of fun, mainly because of Jonathan Groff. I sat very close but off to the side for Much Ado About Nothing at Shakespeare in the Park. It was slightly irritating to not have the actors play to you for the majority of the time but it was great to be so close and again, like with Good Vibrations you get a better view of some of the things happening off to the side. I sat in the balcony but in one of the first few rows for About Midnight. That's what I was referring to when I talked about being on top of the performers. It was still a good show but it was an odd angle. I think I was also in the balcony when I saw Wicked (way back when Shoshanna was in the show) but I don't think I had the same issue with the vantage point. Of course, I was probably super excited to be seeing Wicked so I don't know if much would have bothered me. I've sat in the nosebleed seats at Carnegie (concert) and for the ballet. For the ballet, I was slightly left of center but I was happy with a good pair of binoculars. I think I was also in the balcony for Hairspray. For Carnegie I think the acoustics were just really poor up there and there was a railing blocking the view. I think I was in the rear mezzanine for Hair and The Apple Tree. It was a little far back for Hair but still great for Apple Tree. I think I was front mezzanine for A Little Night Music and those were great seats.

 

I think it kind of depends on the theatre and the show which is something you won't really know before you go. My brain is so calibrated to TV and movies that unless it's a big spectacle show, I want to be able to see their faces. If they're good actors, I want to be able to watch their performances. My issue with sitting super close in the orchestra is that if they don't use the whole stage and mainly perform at the edge is that then I feel too close and I dislike having to lean my head back to see their faces. Especially when they're tall. For some shows my ideal is in the middle of the orchestra and for some it's front mezzanine. I'm often looking for the cheapest seats though so as long as I've got a good view and the performers play to my general some of the time, I'm OK with sitting farther back and off center. I guess I try and opt for seats that are closer to the center because there's more of a chance that they'll play to you but it depends on how the theatre is built. Sometimes rear mezzanine seats are great and sometimes they are so far back.

[Kris223]

FYI - PBS is airing The Nance starring Nathan Lane tonight. http://www.playbill.com/news/article/the-nance-starring-nathan-lane-broadcast-nationwide-tonight-on-pbs-332687

[SilverShadow]

If money's no object, Orchestra as close to the stage as possible, center prefferable, but not a deal-breaker. I love being able to see the actors expressions close up. I know some people like front-mezz because you really get to see the entirety of the stage, but for me I love the smaller details of the individual performances.

[aradia22]

Emma Stone Cabaret promotional photo: http://racked.com/archives/2014/10/15/emma-stone-cabaret-crucial-update.php

I know I say this about everything but I swear I'm going to try my best to see her in this. 

 

This is the only time I've ever wanted to see Rock of Ages. I still probably won't see Rock of Ages. http://www.broadway.com/buzz/177918/dont-stop-believin-youtube-star-chester-see-will-make-his-broadway-debut-in-rock-of-ages/

 

Whaa....? http://www.broadway.com/buzz/177891/stephen-sondheim-teams-up-with-david-ives-to-pen-new-show-at-the-public/

Edited October 16, 2014 by aradia22