Theatre Talk: In Our Own Little Corner

[DisneyBoy]

If anyone ever finds a bootleg of Eden Espinosa in Evita, please send me a private message because I am dying to know how that one went. I'm guessing she was incredible but because it wasn't in NY, it seems unlikely it got a bootleg.

When is Haipsray Live again? Will want to see that.

Edited November 28, 2016 by DisneyBoy

[aradia22]

I was planning to go to Broadway Under the Stars to see who showed up from The Great Comet and Chicago but I am far too tired after my workout today. I did find this poking around online. I'm not listening to any of the new songs yet but I really want to see this show now. I know I'm supposed to be excited about The Great Comet and Dear Evan Hansen but all I want to see is Anastasia and War Paint.

[aradia22]

I saw Vietgone tonight. I plan to write it up on show score so I'm saving my thoughts. But since I've been lazy about my show score reviews lately, I thought I'd share here first. I vaguely remember there being a fuss when MTC announced their lineup and it was all white male writers. And then Vietgone and Sell/Buy/Date were announced. And I'm glad I got to see both of those plays. But Sell/Buy/Date was easily the more successful project. I'm glad that Vietgone introduced me to what I think is a very talented cast. There were a lot of moments I liked in it. But ultimately the whole entity was not a complete success for me. There were things here and there but I'd sum it up as the play being done in by being too much of an MTC play. It was too safe. For all the ways it was being different it was a lot of the same. Just because you didn't cast Chris Tucker or Eddie Murphy, it doesn't mean I can't see that what you wrote was a black friend/sidekick stereotype. Just because they're Asian and there isn't a laugh track, it doesn't mean you didn't write a sitcom where everyone shouts their lines. But I do think it's worth checking out in its final week. Again, the cast is really talented and it didn't upset me. I just didn't find it that funny most of the time. I think the sweet and honest moments where they let the actors act were some of the best parts. The cursing and sex/vulgarity didn't phase me and the rapping was just OK. I mean, the actors handled it well but I wasn't that impressed by what was written for them. 

[aradia22]

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BANDSTAND will officially open this Spring at the Bernard B. Jacobs Theatre! Performances begin on March 31st, 2017 with opening night set for April 26th starring Laura Osnes and Corey Cott. 

Yay, I guess? I don't know. I can rattle off a bunch of shows I want to see more than this one. 

[aradia22]

Oh, and I forget if I posted about it here but I was reminded about Paul Gordon's Emma when I saw A Taste of Things to come. It's part of York Theatre's spring lineup.

Quote

Performances are set to begin April 25, 2017 for a limited engagement through May 28, 2017.

[JessePinkman]

HAM4HAM is doing a livestream concert for the mixtape in just under 2 hours if anyone's interested.

BTW I flew to Australia and got a copy of the album and it's really phenomenal what they've done here. It's beautiful.

[aradia22]

On the one hand, I appreciate that they're letting you hear the performers' natural voices. On the other hand, Broadway/theatre performers look great in comparison. They are able to produce high quality vocal performances night after night. 

[aradia22]

I want to get out some quick thoughts on Sweet Charity with Sutton Foster. My background with the show is having watched Nights of Cabiria and the movie + listening to the Gwen Verdon cast album and the movie soundtrack. Watching the show tonight I realized that all of it stuck in my mind more than I thought it had because I saw things coming and could recognize choreography, etc. I went back and forth with this production. There were things I loved and things I didn't love. The beginning didn't work for me until Vittorio showed up. They didn't find a great way to stage the opening scene where she gets robbed and dumped (they tried to make it interesting by incorporating most of the male ensemble but it wasn't compelling and the humor didn't land). Big Spender also didn't work. The sequined costumes reflecting off the light were a bit blinding (picture someone tilting a mirror from side to side on a sunny day) and I don't think they got the tone of the song or the choreography right. It was bland. I also thought this part failed in showing the bad part of her life. For a stripped down version of the show, the depressing parts should be sadder to stand in relief to the big high points. This production didn't have that grunge beyond some lackluster costumes and unfortunate wigs. Most of the costumes were fine... they just had a homemade/rented look but I particularly disliked the dancehall girl costumes and Charity's purple dress that she wore so much. It looked like a dentist lead apron/hospital gown. I get doing a 60's swing dress but it looked cheap.

Joel Perez made for a FABULOUS Vittorio. I loved him in the role. He was perfect and his tiny singing moment sounded gorgeous. If My Friends Could See Me Now wasn't the full Fosse choreography but there was enough of it to make me happy and the entire Vittorio section let Sutton show off her goofy, humorous side. Rich Man's Frug also wasn't the full Fosse choreography but it was fun. I feel like they really didn't capture the style and attitude of the Fosse choreography. Even at the moments they nodded to it, it was like they were doing the choreography but with none of the oomph. With the ensemble this was notable because you could see the different kinds of dance backgrounds the ensemble has... which shouldn't happen if everyone is giving themselves up to this one style. 

There's Gotta Be Something Better Than This was a great moment. There wasn't anywhere to really go with the small stage but when they did do the Fosse choreography it was exciting and fun and there were some great acting moments in the song.

Schuyler Hensley was fine. He wasn't bad but just... fine. I still think he was slightly miscast. He wasn't overwhelmingly lovable... like perhaps Danny Burstein might have been. I felt like they didn't play up the romance too much in this production. Also, I'm not sure which ending they were going with but Oscar said a lot of stuff about purity that didn't sound familiar to me... it was related to his other anxieties... and they ended with Oscar leaving her and then a bit of music. No hippies. 

Rhythm of Life was a bit of a letdown. I wish they'd given it to someone in the ensemble other than Joel Perez. I don't think it fit his voice as well and it just wasn't weird enough and the choreography was just... eh.

I'm A Brass Band made great use of the ensemble and was the high point it should be. Joel Perez sounded great again during I Love to Cry at Weddings. 

I understand what they were trying to do with the ending but I don't think it was that strong. Overall, I think maybe they were trying to put a bit more Cabiria in Sweet Charity but they didn't pull off the darker, serious elements and so I just found myself missing the Fosse choreography. But aside from some dancing issues, the performers were all pretty fantastic. And they had a diverse cast which is always nice to see.

[aradia22]

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Due to unprecedented demand, Irish Repertory Theatre announced today a second extension of FINIAN'S RAINBOW, which will now run through January 29, 2017.

I want to see this so badly.

[Charlie Baker]

I recommend The Best Worst Thing That Ever Could Have Happened. It might somewhat downplay the turmoil of the preview period of Merrily We Roll Along, but the impact of the experience on the young performers and the directions their lives followed in the ensuing thirty-five years are what the movie is really about, not so much backstage dish.  Very much the exhilaration and heartbreak of the theater.

[ebk57]

7 hours ago, Charlie Baker said:

I recommend The Best Worst Thing That Ever Could Have Happened. It might somewhat downplay the turmoil of the preview period of Merrily We Roll Along, but the impact of the experience on the young performers and the directions their lives followed in the ensuing thirty-five years are what the movie is really about, not so much backstage dish.  Very much the exhilaration and heartbreak of the theater.

This will be playing here at AFI Silver starting next weekend.  I will be there.  I fully expect to cry.

[Milburn Stone]

16 hours ago, ebk57 said:

This will be playing here at AFI Silver starting next weekend.  I will be there.  I fully expect to cry.

I hope it will play somewhere, anywhere in Chicago. You'd think it would. But you might very well think wrong.

[ebk57]

28 minutes ago, Milburn Stone said:

I hope it will play somewhere, anywhere in Chicago. You'd think it would. But you might very well think wrong.

Not that it helps right now, but on the film's website, the Gene Siskel Film Center is listed as a venue with "date coming soon."  I hope soon really means soon.

[Milburn Stone]

Just now, ebk57 said:

Not that it helps right now, but on the film's website, the Gene Siskel Film Center is listed as a venue with "date coming soon."  I hope soon really means soon.

Oh good! I will keep an eye out for it.

[Rinaldo]

Curiously, it's supposed to play a week later this month in a tiny boutique theatre (converted in a downtown office building) here in Wilmington DE (though its website acts like it's totally shut down, so who knows what's happening). Meanwhile the film isn't scheduled at all, at any time, for the entire state of Pennsylvania (I usually have to drive to the Philadelphia area to see something like this).

[aradia22]

My second La Boheme of the season. I had a bad audience experience so the only act where I could completely focus was act 4. Still, some quick thoughts.

Rodolfo: Piotr Beczala... I loved him with Anna Netrebko when I saw Iolanto through Live in HD so I bought a second La Boheme ticket this season largely to see him. He was fine. I think he needed a bit to warm up. Act 1 before the pause, he definitely wasn't getting into the notes as smoothly as the first Rodolfo I saw. It was a little more halting and like he was throwing his voice sometimes. 

Mimi: Kristine Opolais... between this and her Manon, I'm not really feeling her. She has a strong voice but not a particularly beautiful one and I find her a very indifferent actress. It's like she has no connection to the words. Aislyn Perez didn't sound as good but comparatively, her performance was much better. I'm hoping Rusalka goes better.

Musetta: Brigitta Kele... I think she has a stronger voice than Susanna or at least she sounded better in this part. But Susanna was adorable and playful and Brigitta was more sexy but just standard. I mean, she wasn't vamping it up like Idina Menzel or anything. Her Musetta's Waltz was just played more seductively while Susanna was more comedic and coy and kittenish. But I didn't get a strong impression from Musetta and Marcello this time. 

[bosawks]

Just got home from seeing Dear Evan Hansen and all I can say is GO SEE IT!

[aradia22]

So... Adam Pascal sounds pretty much the same singing One Song Glory all these years later. And in the role of Lin-Manuel Miranda watching someone he loves at Ham4Ham is Rob McClure. ;)

http://www.broadwayworld.com/article/STAGE-TUBE-Adam-Pascal-Gives-Special-Performance-at-SOMETHING-ROTTEN-to-Benefit-BCEFA-20161203

[Silver Raven]

Anthony Rapp is going to be a regular on the new Star Trek series, "Star Trek: Discovery". His character will be the first acknowledged gay character in the Star Trek universe.,

[aradia22]

I finally saw Matilda tonight. Quick thoughts. I'm glad I didn't check out any bootlegs or the album. I knew a few bits of the songs just because it's been running for so long but I pretty much went into it fresh. The Matilda at my performance was so little and painfully adorable. Not precociously cute but sharp and smart and fierce. Lesli Margherita nailed all her jokes. The Mr. Wormwood was great but I kind of wish I'd seen Gabriel Ebert. Jennifer Blood was good as Miss Honey though I'm a little curious about what Jill Paice was like. Bryce Ryness was solid but not fantastic. I wish I'd seen either of the two other Trunchbulls. The kids weren't as strong in the acting department as the one playing Matilda but they were still very talented, especially as far as all the movement went. Speaking of which... I wouldn't exactly characterize it as "spectacle" but it's a great show visually. I loved all the creativity with the set and while most of the individual dance moves (with some exceptions) weren't the height of difficulty... it wasn't like Shuffle Along or something... taken together it was impressive. If I were the right age for this, I think I would have loved the show. As it was, it was somewhere between a 7 and an 8 for me. I think I largely had plot/structure issues. There are some great individual songs and moments and it makes some good points (especially considering them as lessons for a young audience). But I think taking away the structure of the book and the movie

Spoiler

rushing the episodes with the individual kids... the cake, the pigtails, the newt... I'm curious if this translated well for people who aren't familiar with the book or movie... and throwing in Matilda's story... I did like her as a creative character who was able to tell her own story but this whole psychic absorption of Miss Honey's backstory undercut the tension of that plot for me. And why were they an acrobat and an escape artist? That was nonsense. The whole thing made Matilda a bit too magical and almost more of a horror movie character. I think she already has a lot of agency in the book and movie so I don't know why they needed to try and give her more at the expense of the other characters... I think they just sketch out of the conflict with Trunchbull/Miss Honey and with her parents and they don't feel like very strong antagonists. But I do like the moments with Trunchbull and the end bit with the Russian mobsters. 

hurt the show a bit. I just feel like there were some changes for the sake of making the stage version different that didn't serve the story as well. But I'm glad I got to see it before it closed.

[aradia22]

The Band's Visit has extended through January 1. You should see it.

[aradia22]

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Josh Groban tweeted the good news yesterday: Originally scheduled to star as Pierre in the wonderful new Broadway musical Natasha, Pierre & the Great Comet of 1812 through April 23, 2017, the formidable singer will now be in the production through July 2. And for those of us who have been loving and following Dave Malloy's luminous show since its 2012 debut at Ars Nova, and subsequent Off Broadway runs, there is even more to celebrate: Time Out has learned that for ten performances, when Groban has scheduled absences, Pierre will be played by none other than Malloy himself, who originated the part in those earlier versions.

https://www.timeout.com/newyork/blog/exclusive-composer-dave-malloy-will-return-to-the-great-comet-on-broadway-next-year-120516

[DisneyBoy]

Christy Altomare blows 'em away with Journey to the Past here:

Still not a huge fan of her acting choices, but boy does she sell it!

[aradia22]

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On the heels of Bright Star's Grammy nomination for Best Musical Theater Album, Kurt Deutsch, president of Ghostlight Records, today announced that the show's December 12 sold-out reunion concert at Town Hall will be streamed live exclusively on TheaterMania.com beginning at 7:30pm. Cocreators Steve Martin and Edie Brickell will both host and perform throughout the evening, which will also feature performances by the full original Broadway cast. The program will be followed by a Q&A moderated by cast album producer Peter Asher.

http://www.theatermania.com/new-york-city-theater/news/theatermania-to-livestream-bright-star-concert_79331.html?

[aradia22]

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We now have dates for the previously reported Main Stem premiere of Prince of Broadway at Manhattan Theatre Club. The long-in-the-works musical, which celebrates the career of the 21-time Tony-winning director and producer Harold Prince, will begin previews on August 3, 2017. Opening night is scheduled for August 24 at MTC’s Samuel J. Friedman Theatre.

[...] No word yet on casting, but last year's Japanese world premiere starred Ramin Karimloo, Shuler Hensley, Tony Yazbeck, Emily Skinner, Josh Grisetti, Bryonha Marie Parham, Mariand Torres, Nancy Opel, Reon Yuzuki and Kaley Ann Voorhees.

The production will feature set design by Beowulf Boritt, costume design by William Ivey Long, lighting design by Howell Binkley and musical direction by Fred Lassen. 

What in the hell? Is there a competition I don't know about to get as many musicals (and plays) on Broadway in one season as possible?

http://www.broadway.com/buzz/187003/great-white-way-dates-set-for-harold-princes-prince-of-broadway/

[aradia22]

I saw Falsettos tonight. Some quick thoughts. I know I always say that and start rambling but I mean it this time.

1. They've settled in so this is definitely the running time. It was 2 hours and 40 minutes with intermission. It never really got tedious or unengaging but I definitely felt the running time. I think it also made slight weaknesses in the score stand out in sharper relief than they might have as separate plays as all issues seem to stand out sharper the longer you make the audience sit there and think about them.
2. The cast was great. I thought the kid could have been a little better but everyone gave very solid performances (with some above what was required singing from Betsy and Tracey) and a great turn by Brandon. The star for me was Stephanie J. Block as Trina. Her "I'm Breaking Down" was a Tony-nomination kind of a performance. Christian and Andrew were also solid and had nice moments but they mostly played things simply and honestly so there wasn't a lot of showiness to latch onto. The bit at the beginning about their more contentious relationship was a little too cynical for me. Like Sondheim but with less wit and charm.
3. It was funny. The jokes still hold up.
4. The performers added little touches, little reactions that elevated the material from just what was on the page or in the score. I also loved the use of the set (foam blocks of different shapes) if not always the backdrop (why a cloth? why not a screen?). The costumes made it feel more like a period piece and while it wasn't Gregg Barnes or William Ivey Long, I thought they worked well.
5. I had structure issues. I connected the most with Trina but even then not to any great degree. I feel like the comedy worked for me. The drama was a little tougher. Some things were rushed. Some things were dragged out. Some parts were choppy. Maybe I would feel differently if I'd lived through the height of the AIDS crisis but for 2016, I knew what they were hinting at but it was all still so tentative. It didn't pack a big emotional punch, though there were sniffles throughout the audience so it might just be me. But I would like to point out I cry at a ton of stuff. Like, it was a close call at Matilda and I wasn't even that moved by Matilda. 
6. I'm glad I went. I had a good time. I don't think it's aged poorly. It's just that, for me, I feel like it's a little rushed and doesn't go into enough depth at times and some of the lyrics aren't that strong. And also, this era of neuroticism doesn't really do it for me. 

[aradia22]

Has anyone been to Chicago to see this production of Singin' in the Rain? http://www.marriotttheatre.com/show/singin-in-the-rain

[Silver Raven]

I wasn't all that impressed with "Hairspray Live!"  My comments on that show thread.

[aradia22]

Candide New York City Opera helmed by Hal Prince. 10 performances from January 6 through January 15, at Jazz at Lincoln Center's Rose Theater.

Jay Armstrong Johnson: Candide, Linda Lavin: Old Lady, Chip Zien and Brooks Ashmanskas as assorted characters

http://www.broadwayworld.com/article/Starry-Harold-Prince-Helmed-CANDIDE-Adds-Performances-at-New-York-City-Opera-20161208

[aradia22]

Very random but I was just looking up the cast album... if you have Amazon Prime you can stream the cast album of The Color Purple revival. I feel like I need to mentally prepare myself. I started to play the song Celie sings to her baby and Cynthia was already giving me chills. 

[aradia22]

[Rinaldo]

1 hour ago, aradia22 said:

Candide New York City Opera helmed by Hal Prince. 10 performances from January 6 through January 15, at Jazz at Lincoln Center's Rose Theater.

Jay Armstrong Johnson: Candide, Linda Lavin: Old Lady, Chip Zien and Brooks Ashmanskas as assorted characters

Oh dear, the dreadful old Prince production emerging from the grave. I thought we'd seen the last of it and its anti-musicality, but I guess it'll never go away (I caught it in 1987, and that wasn't its first time around with NYCO). I'll be interested to hear (second-hand) how Jay Armstrong Johnson fares with the title role; his highish boyish voice gets him classified as "tenor" by courtesy in musical-theater circles, but how will he fare with a true operetta tenor role? Oops, I forgot, it's this production, so musical qualifications count for naught. (I see they haven't announced a soprano yet either.)

[aradia22]

@Rinaldo Do you mean Cunegonde? It's Meghan Picerno. I just didn't put her name because I don't know who she is. 

[Rinaldo]

That's the role I meant, and I wrongly assumed you were just copying the press release intact.

Meghan Picerno, I discover, comes from the world of opera. (As Cunegondes pretty much have to. For his last Broadway revival, Prince chose Harolyn Blackwell, who therefore had to take a year off from the Met.) Ms. Picerno has roles like Gilda (Rigoletto), Olympia (Tales of Hoffmann), and the Queen of the Night (Magic Flute) in her repertory, so that's the right skill set for Cunegonde's music.

[dbklmt]

Thanks aradia22 for posting the Broadway.com video for "Merrily We Roll Along" at the Wallis Annenberg Theatre in Beverly Hills.  The insight from the actors and Michael Arden about his scenic design choice with a theatre backdrop were spot on.  I saw the 2nd performance on November 25th which was my first live exposure to this classic musical.  I loved all the actors especially the female leads, Donna Vivino, Saycon Sengbloh and most of all, Whitney Bashor whose "Not A Day Goes By" in the 2nd act was the highlight of the show for me.  This show has been bashed on the Broadway World message boards and received more negative reviews than positive ones in the press, but for me I liked it.  

[aradia22]

Salome (Strauss) tonight at the Met. Quick thoughts. The dance of the seven veils was a little disappointing but I thought they handled the actress not being a dancer relatively well and she did a reasonably good job of slinking across the stage throughout. I also liked her costumes, especially the black robe she wore at the end. Very flattering for a larger, but curvy figure. I think the costumes muddle a range of time periods but I liked the overall vibe of it as well as of the set and the production. Normally I don't like the "modern" sets but this worked for me. I liked the spiral glass staircase. I liked the way both that piece and the cistern "elevator" were twists on the trap door and how with the sand dune staircase it created a lot of levels and visual interest. The singing was fine. I liked Patricia Racette as Salome. No one else made a big impression on me and it was hard to focus on the music except during the dance so I can't comment much. I like lush and romantic or catchy or something with a driving force. The passages that almost feel spoken don't register as much for me. My least favorite part was the story. I know the basic Salome myth. This was not a very compelling way of dramatizing it. I feel like it was very repetitive in getting to the point when maybe I would have wanted something more Romantic or introspective with the characters agonizing over their feelings. There are only so many times I can listen to her praise his Snow White qualities and then get rejected before it gets tedious. 

[aradia22]

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The producers of Broadway’s “Anastasia” are being sued by an heir of the author of the alleged original play, who has demanded the production be barred from opening its doors in April, even as tickets are being sold.

Jean-Etienne de Becdelievre, of Paris, accused the Broadway production and its Tony-winning writer, Terrence McNally, of stealing the plot for the musical from Marcelle Maurette, who wrote the play “Anastasia” in 1952.

The lawsuit is seeking a court order to stop the show — which is scheduled to open at the Broadhurst Theatre on West 44th Street — until a licensing agreement can be reached.

http://nypost.com/2016/12/10/anastasia-producers-sued-for-plagiarism/

[aradia22]

REMINDER: Bright Star livestream at 7:30

Here's the link. http://www.theatermania.com/new-york-city-theater/news/watch-bright-star-reunion-concert_79353.html?cid=mostviewed

[aradia22]

So it is a concert, but there's video, not just audio. They aren't in costume but they're dressed fairly appropriately regardless. Hannah Elless is the only one who looks a little dressed up. They're also leaving in a little choreography, but not a lot. It's a crowded stage.

This cut song is interesting. The show would have been different if her love interest had been married and if she'd actually raised her son.

I still don't think "If You Knew My Story" has a ton to do with the actual plot of the musical.

Hearing it again (I haven't listened to the album yet) the score is pleasant but it doesn't have a lot of momentum or excitement. Not that "Whoa, Mama," is that much better of a song but at least it has some driving force.

I think cutting most of the jokes takes a way a lot of the charm of the show. It leaves the songs more exposed for dissection which is... not a good thing. There's just not a lot of depth here. I don't think they were confident in the story they were telling or the characterization of the characters. It really pales in comparison to The Color Purple, not that I think it would have done any better coming out in a different season.

Oh, the taking the baby scene. I wish this were staged. The music is not very good but it had even less impact after Spring Awakening.

LOL. "A Man's Gotta Do." I forgot about this one. Guys, he's singing to a baby in a bag. 

I don't hate bluegrass music. The Entr'acte is still great. A bluegrass score could have worked in service of a better story with more defined characters. I don't know why they felt like they had to dumb things down. Musicals can be as complex as any other form of storytelling.

Paul Nolan's voice is so pretty.

"Pour Me Another Round" is great. This is the level more of the songs should have been at. 

[aradia22]

Waitress: Jessie Mueller's Final Performance March 26, 2017

[aradia22]

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Jake Gyllenhaal and Annaleigh Ashford are going to give us more to see! After the sad news that Gyllenhaal wouldn't be reopening the Hudson Theatre with Burn This from February 2017, comes the happier announcement that the Oscar nominee will launch the venue by reprising his City Center performance in Sunday in the Park with George. Once again co-starring Tony winner Ashford, Stephen Sondheim and James Lapine’s classic tuner will play a limited engagement February 11, 2017 through April 23. Opening night is set for February 23 and tickets are now available to the production. Sarna Lapine directs.

http://www.broadway.com/buzz/186923/jake-gyllenhaal-annaleigh-ashford-to-launch-broadways-hudson-theatre-with-sunday-in-the-park-with-george/

[ElectricBoogaloo]

Is anyone else going to see the special one night showing of Allegiance in movie theaters tonight? I was going to post a separate thread for it in the movie forum but I thought maybe people would want to discuss it here in the existing theater thread instead. 

Tickets still available!

[aradia22]

Feel free to post here @ElectricBoogaloo! Sadly, it didn't have a long run (and wasn't that well sold when it was running) so it's not a show I've gotten to talk to a lot of people about. I didn't feel the need to see it again but I'm glad I saw it the first time. I don't think every show about an "important" subject should be excused for its weaknesses but I give them credit for a lot of the good choices they made and it certainly wasn't a show I had to suffer through like the lazily misogynist and sexist or casually racist shows. Or even taking out the offensive shows, there's still a lot of lazy and cynical stuff and while not entirely successful, this show was earnest and it tried. George Takei and Lea Salonga were great. I just think they forced the Titanic thing (seeing a big event through the lens of a few fictional characters... with a romance that felt forced, in this case.) I think it's also difficult to be a relatively inexperienced composer and to tackle a subject when your reach exceeds your grasp, especially when you are tackling a more difficult subject. 

[ElectricBoogaloo]

I agree with your assessment, @aradia22. The topic was important (and I was surprised that in the featurette they showed afterward, they talked about how a lot of people don't know that the Japanese internment happened - seriously?!) and there was obviously a lot of passion and sincerity put into this project, but there were some problems that held the show back and that was such a disappointment because I wanted it to do well.

I know it's pretty typical to have at least one love story in a musical so I was fine with the Kei/Frankie relationship developing, but the Sammy/Hannah seemed more forced. To be honest, I felt like we ended up spending too much time on Hannah instead of the people interned at the camp, just so there was an excuse for Sammy and Kei to become estranged (which was unnecessary since his dislike of Frankie was enough to cause the estrangement).

But my main issue was with the music which I felt wasn't strong enough. The 40s songs were the better songs but a lot of the ballads felt too generic.

For me, the strongest thing about the show was the emotional component, particularly from George Takei and Lea Salonga who were both so sincere in their portrayals. I'll admit that for a good portion of the show, I thought George had the easier task of providing some levity but when he broke down at the end, I was really moved. I don't know if I could be that raw every night in front of an audience, even if only for one scene.

One of the tough things about the subject matter was conveying how incredibly fucked up the situation was without making the show into a two hour downer, so I get why they included the baseball song and the big dance (and I think it was important to show that people tried to make the best of a bad situation).

I do appreciate the effort that was put into telling this story, as well as the opportunities the show provided (first Asian to direct a Broadway musical, first Asian composer of a Broadway musical, and there was a blurb that said something about the show's female conductor, Laura Bergquist).

[ebk57]

I agree with pretty much everything you both said @ElectricBoogaloo and @aradia22.  I saw the film last night and thought that it was and especially important subject currently.  I felt the show was pretty old-fashioned with the love stories shoehorned in (not that old-fashioned is bad, but I felt it with this show).  I was uninspired by a lot of the ballads.  But, all in all, I'm really happy that I managed to get the last ticket in the theatre.  I was quite impressed that the show was sold out.

As for the technical aspects, there were several times I thought the music tracks overshadowed the vocal tracks.  And there was an odd echo for a while during act 2, but I don't know it that was a local theatre issue. 

Definitely glad I saw the show.

[aradia22]

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I do appreciate the effort that was put into telling this story, as well as the opportunities the show provided (first Asian to direct a Broadway musical, first Asian composer of a Broadway musical

I was searching my brain because it seems crazy that it took this long to reach those milestones. But unless someone can come up with some examples, I guess that must be true. It's not that Asians/Asian Americans aren't working in theatre but so far at least on the creative side, they haven't been doing a lot of that work on Broadway as much as off-Broadway and maybe on the West Coast. The only names I could come up with are David Henry Hwang, Julia Cho, and Adam Gwon and Hwang is the only one who has been involved in a Broadway musical. 

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As for the technical aspects, there were several times I thought the music tracks overshadowed the vocal tracks.  And there was an odd echo for a while during act 2, but I don't know it that was a local theatre issue.

According to BWW that's a common issue so I think it was a flaw of the recording? print? they sent out. I wonder if they can fix it if they plan to release it somehow.

[aradia22]

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Alysha Deslorieux (Peggy Schuyler and Maria Reynolds), J. Quinton Johnson (Hercules Mulligan and James Madison), Bryan Terrell Clark (George Washington), Taran Killam (King George) and Anthony Lee Medina (John Laurens/Philip Hamilton) will join the Broadway cast of Hamilton in principal roles,

Okieriete Onaodowan will play his final performance on December 24. 

Taran Killam will make his Broadway debut as King George on January 17. Current cast member, Rory O'Malley will play his final performance on January 15.

Javier Muñoz as Alexander Hamilton leads the Broadway Hamilton company that currently includes Brandon Victor Dixon as Aaron Burr; Mandy Gonzalez as Angelica Schuyler; Lexi Lawson as Eliza Hamilton; Michael Luwoye as Mr. Muñoz's alternate; and Seth Stewart as Marquis de Lafayette/Thomas Jefferson.

What? Taran Killam was great in Little Shop but I didn't expect him to actually sign on to a Broadway show! He should be great. It's a small part and like the dentist, he can play it fun and over the top.

http://www.broadwayworld.com/article/Non-Stop-Alysha-Deslorieux-Taran-Killam-Anthony-Lee-Medina-and-More-Will-Join-Broadways-HAMILTON-This-Winter-20161214

[arc]

I saw Allegiance last night too. (Just for where I'm coming from: I know next to nothing about Broadway, have never seen a full fledged Broadway musical, and tbh I don't know that much about the internment.) I don't think I've ever been more moved.

[aradia22]

Random question: If you pay for a concert, perhaps just one concert or as part of a subscription package and a certain actor or singer is attached to perform... how disappointed do you get to be when that person drops out and gets replaced? I've been thinking about it because this is the second year I've had this issue with the NY Pops but also in the context of buying advance tickets in general. Personally, it depends on what I'm going to see. I don't mind understudies and replacements on Broadway. But if I'm probably only going to see a show once and my main selling point was an actor (like Idina in If/Then) I would have been disappointed if she'd been out when I went to see the show. I understand that things happen and schedules change but maybe don't sell me on a concert package with certain actors attached if most of your big names are going to drop out. I don't know. I'd contrast it with 92Y which tends to announce talent for their concerts closer to the dates. A few times someone has dropped out but those concerts tend to be stacked with so much talent anyway that there's likely someone I would have bought a ticket to see anyway. I'm trying to stay optimistic that the remaining concerts will be good but I'm also thinking that I might save my money and not subscribe next year... unless they trick me again and tell me Audra is going to perform... before she drops out 3 months later. 

[ebk57]

5 hours ago, aradia22 said:

What? Taran Killam was great in Little Shop but I didn't expect him to actually sign on to a Broadway show! He should be great. It's a small part and like the dentist, he can play it fun and over the top.

http://www.broadwayworld.com/article/Non-Stop-Alysha-Deslorieux-Taran-Killam-Anthony-Lee-Medina-and-More-Will-Join-Broadways-HAMILTON-This-Winter-20161214

I've got tickets to see this again in February.  Now I'm looking forward to it even more.

 

As for your concert question, if you're going to the concert especially to see that one person and he/she drops out, I would hope you could get a refund if you wanted one.