Theatre Talk: In Our Own Little Corner

[aradia22]

Thoughts on the performances during the Macy's Thanksgiving Day Parade. I pretty much only watched NBC. I popped in to CBS to see Taylor Swift and Pippin but if anything else happened on CBS, I missed it.

 

On the Town went with a dance number. Still not feeling it.

Honeymoon in Vegas surprised me. I'm not super familiar with Jason Robert Brown but even I know that this was a departure from his usual fare. Right now it's feeling a little like Bullets Over Broadway... flashy spectacle. The melodies don't seem very complex and the lyrics seem jokey. It doesn't feel highbrow or lowbrow but somewhere in the middle. I'm not sure if it's something I want to see but it's not something I don't want to see.

This is the same number Gentleman's Guide always does but this is the first time it's made me want to see the show.

I am really surprised that Side Show went with that number. It felt kind of like Chicago. Everyone seems to be opting for their "fun" numbers for the parade. Like HIM, it has me intrigued.

The Last Ship wasn't awful. It wasn't Once or anything. But yeah, I have no desire to see this show.

The Peter Pan live performance was kind of encouraging though I felt the complete absence o Allison Williams. The costumes looked much better than they have in the commercials and promotional photos.

The Rockettes were getting it done.

[Rinaldo]

[Never mind.]

Edited November 27, 2014 by Rinaldo

[aradia22]

I decided to finally take the time to listen to the Gentleman's Guide cast album. I still don't think it's a great musical but it's a charming, amusing one. The lyrics aren't brilliant but they're very clever and competent. It's difficult to comment on the music as it is trying to mimic a specific style so there's not as much room to innovate and play. I couldn't shake the feeling after the first 5-10 songs that there was something about it that reminded me of Curtains. The accents they adopted weren't terrible but I feel like the slippage between the accents they were doing (and sometimes failing to maintain) and genuine British accents would be as annoying to British listeners as British musical theatre often is to me when they attempt any accent other than their own. The lyrics and the accents require precision and I'll admit there were times when needed to look up the lyrics because I lost a line or two in a song. Lauren Worsham was the star of the album for me. I'll see if I can't find the time (and wiggle room in my budget) to see this. It seems like a fun time similar to The 39 Steps.

[aradia22]

Since I was in the mood to listen to albums after Gentleman's Guide I decided to listen to another show I'm thinking of seeing, Side Show. Oh. So now i know why "Like Everyone Else," "Feelings You've Got to Hide," and "Who Will Love Me As I Am" are the popular numbers from the show usually used in promotional materials. Because the lyrics for everything else are... well... kind of incredibly stupid. There's a sense of rightness to good lyrics. They're not really obvious rhymes but they seem to fit the music and sentiment perfectly. Side Show's lyrics fit the music rather awkwardly and putting that aside, they're still kind of dumb. Even in the big numbers (Feelings and WWLMAIA) the blend of Emily Skinner and Alice Ripley and the soaring music barely cover up how silly some of the lyrics are. Norm, Jeff, Alice, and Emily sound great. The cast is talented but yeah, most of these songs don't work. It's both the music and the lyrics. I mean, it's mostly the lyrics but the music is also at fault. I know they've reworked it for the revival but my enthusiasm for seeing the show is quite dampened.

[Milburn Stone]

[Never mind.]

 

I find myself guessing at what you wrote originally. And feeling I have a pretty good idea.

[glowlights]

Hooray, a theatre thread!

 

Front row mezzanine, dead center. I will accept no substitutes. :) But yeah, if that's not available I just go with what's available. I don't mind middle orchestra, and if it's a truly great production I'll just sit where I can. Once stood at the Vienna State Opera and don't regret a thing. I don't prefer to sit in box seats (in most theatres) but it is nice sometimes to be with only a few people... people who don't talk during the performance.

 

Of late... I was completely unimpressed with Rapture Blister Burn but suspect it was an issue with the specific (regional) production - because I would hate to think that a contemporary feminist is so derisive and dismissive of SAHMs and was rewarded with a Pulitzer nomination for it. (I'm not a SAHM but was offended nonetheless.) Anyone see the original production? Was Gwen a shrill, birdbrained woman of no consequence?

 

Also, if anyone's going see to Die Meistersinger Von Nurnburg (live, or Live in HD) maybe we could start a support group for the hangover. :)

[aradia22]

 

Hooray, a theatre thread!

Welcome, new friend! 

 

I got tickets for the Live in HD showings of The Merry Widow and Iolanta/Bluebeard's Castle. I'm considering some of the other operas but there are just so many things I want to see and Black Friday and the run up to Black Friday took a dent out of my bank account. 

[Rinaldo]

Also, if anyone's going see to Die Meistersinger Von Nurnburg (live, or Live in HD) maybe we could start a support group for the hangover. :)

 

I'm a great devotee of Die Meistersinger, and have seen it many times in person. But I think I'll give this one a miss. (I very much like the live video from Glyndebourne -- my favorite place to see an opera -- and the previous Met telecast on DVD is very good as well.)

[Bastet]

Angela Lansbury in Noel Coward's Blithe Spirit is coming to the Ahmanson this month, so I'm there.  Because - Angela Lansbury!  I'll be 13 rows back from the stage and dead center.

[glowlights]

Welcome, new friend! 

 

I got tickets for the Live in HD showings of The Merry Widow and Iolanta/Bluebeard's Castle. I'm considering some of the other operas but there are just so many things I want to see and Black Friday and the run up to Black Friday took a dent out of my bank account. 

 

Thank you for the welcome! Yeah, I know all about the holiday shopping expenses. Yeesh. Hopefully you'll be able to bend that dent out of your wallet and see some more of the things you're looking forward to. I, too, am looking forward to The Merry Widow in HD and am hoping to see Iolanta/Bluebeard's castle in person. Les Contes d'Hoffman looks like a riot - have you seen previous productions?

 

I'm a great devotee of Die Meistersinger, and have seen it many times in person. But I think I'll give this one a miss. (I very much like the live video from Glyndebourne -- my favorite place to see an opera -- and the previous Met telecast on DVD is very good as well.)

 

Oooo, Glyndebourne. Lucky duck! I've never been. Thank you for the recommendations re: video and DVD, will check them out if for some reason I can't make it next week.

[Charlie Baker]

The whole Internet has had its say on Peter Pan Live, I suppose.  I thought it was middling, with some good stuff and some not so good, and I applaud its technical and design ambitions. (I saw the Mary Martin TV taping a number of times as a wee child.)  I also have my own curiosity about the upcoming live TV versions of Grease and Music Man, if only about the casting.   We've shared differing opinions on videoed stage performances here--I find this live TV hybrid (theater pieces but in studios and without audiences) more problematic but still pretty interesting.  I guess I would be compelled to continue checking them out, as unsatisfying as they might prove to be. 

[Rinaldo]

I'd hate for that show to take over this thread (it has its own elsewhere in the forum), but I'll say that I found it to have distinctly differently problems from last year's. This time the whole cast was capable in a basic way, but the show was mis-adapted (lots new songs where they weren't needed), miscast, and misdirected. One thing Peter Pan needs to be (in this American musical version anyway) is energetic and joyful (like the actresses famous for the role), and this was dark, slow-paced, and dispiriting. Once again, a stage star in a secondary role soared above everything else: last year Laura Benanti, this time Kelli O'Hara. 

[aradia22]

I'm with you Rinaldo, on not letting that special take over this thread. I've said most of what I wanted to say anyway. As fun as twitter snark is, it's hard to keep up with. I think the best viewing scenario is hanging out with a bunch of friends and making it a night of it, cracking jokes when appropriate. It's neither something that's entertaining or it's own nor something you can really enjoy with one eye on the computer. I agree that this production had different problems from TSOM. The quality level of the sets and acting was higher with Peter Pan but the actual show was weaker. TSOM had highs and lows. Peter Pan was middling throughout. All the accents were terrible and other than his arms, Christian Borle was a letdown. And yes, Kelli O'Hara was the real winner of the night. Makes you really wish they'd go ahead and hire a professional Broadway actress (not even a newcomer like Taylor Louderman) to be their star. Of course, that's not to say that just hiring a professional is enough for a good production. See: so many made for TV musicals. (Vanessa Williams in Bye Bye Birdie, Kristin Chenoweth in The Music Man, etc.) But they do need to stop choosing musicals that rest on a star and then not finding a star. I'm tentatively hopeful about Grease because it's a stronger show. Yes, it's conventional but it's also very familiar and the songs are pleasant and catchy. It helps if you have a strong Danny and Sandy but it's a bit more of an ensemble affair.

[Sara2009]

Another good thing about " Grease" is that it's not all that vocally challenging, so it might be easier to find stars who can pull it off.

[aradia22]

I don't know if anyone else remembered to catch Kristin Chenoweth's Coming Home special. I had it DVR'ed and finally had the time to sit down and watch it today. I enjoyed it. You don't get a tremendous amount of insight into her life but her voice was perfection. I'll be honest. Sometimes when she performs in different concerts and things on TV I worry that she's losing it but no, she's totally still got it. Excited for On the 20th Century. I have my ticket.

[ancslove]

I caught both Kristin Chenowith and Matthew Morrison's specials.  They were really good.  Kristin had a beautiful Bring Him Home and Wishing You Were Somehow Here Again.  I can't really picture her as Christine, but she was really good.  And I loved the duet of For Good.  Matt Morrison is also amazing, and I'm glad he's going back to Broadway.  I'd also pay a lot to see Kristin and Matt do a show together.  Add Idina Menzel, they can all rip on Glee, sing some of their better songs from the show, and then just have a night of great music.  

[Charlie Baker]

The Chenoweth concert awaits me on the DVR.  Looking forward to 20th Century too.

 

Here's an excellent piece on Angela Lansbury from the LA Times, as she's about to open in Blithe Spirit:

 

http://www.latimes.com/entertainment/arts/la-et-cm-ca-angela-lansbury-20141207-column.html#page=1

[aradia22]

I already had plans but this sounds interesting. I hope they revisit it. http://playbill.com/news/article/arriving-in-asian-america-hosted-by-ann-harada-presented-free-of-charge-at-symphony-space-tonight-336730

 

I will also bring this over to the somewhat dormant Movie Musicals thread. Most of the projects in development are somewhat rumor-ish but it could be fun to talk about. http://playbill.com/news/article/schedule-of-upcoming-movie-musical-adaptations-216487

 

I think I might have still qualified as a toddler when this premiered. Any opinions on whether it's worth keeping an eye on? http://playbill.com/news/article/kate-baldwin-will-reunite-with-andrew-lippa-in-rare-revival-of-john-jen-336831

 

I don't know anything about Beaches except that Bette Midler was in it. Is anyone excited for this? http://playbill.com/news/article/beaches-is-broadway-bound-musical-will-continue-development-in-chicago-336896

 

I have never even heard of this movie and I generally dislike most Sheryl Crow songs. http://playbill.com/news/article/sheryl-crow-musical-diner-makes-world-premiere-tonight-kathleen-marshall-directs-336736

 

Another fun topic. A list of Broadway bass-baritones. Anyone who shouldn't be on the list? Anyone left out? Who are your favorites? http://playbill.com/news/article/make-them-hear-you-broadways-best-bass-baritones-336749

[bosawks]

Woo Hoo!  The Fun Home cast is complete:  Michael Cerveris and  Judy Kuhn will reprise their roles of Bruce and Helen Bechdel.  Beth Malone as Alison, Sydney Lucas as Small Alison and Emily Skeggs as Medium Alison. Joel Perez, Roberta Colindrez, Zell Morrow and Oscar Williams, also will reprise their roles on Broadway.

 

I highly recommend it, so much I'm looking to see it again just to watch Sydney sing Ring of Keys and Judy Days and Days.

[ancslove]

I wouldn't really call Hugh Jackman a bass-baritone.  Les Mis showed that he's not a full tenor, but he's also definitely nowhere near a bass.  I would add Philip Quast to the list.

[Charlie Baker]

From the list, I suppose Brian Stokes Mitchell and John Raitt would be my favorites.  Howard Keel had very limited Broadway time (he got to do Alfred Drake roles in movies), and AFAIK Gordon Macrae didn't do a Broadway musical, but they are worthy of consideration in relation to the other gentlemen.  I would agree Jackman is a borderline choice--high baritone, I guess. Second tenor? 

 

A musical version of Beaches doesn't interest me much, but I've said here before I like the idea of pop songwriters doing musicals and I like Sheryl Crow, so I would at least keep an eye on Diner 's prospects. I'm not a huge fan of the movie, but it has a devoted following. It's really a "guy" piece, so she's an interesting choice for the score, at least. 

[Sara2009]

I caught both Kristin Chenowith and Matthew Morrison's specials. They were really good. Kristin had a beautiful Bring Him Home and Wishing You Were Somehow Here Again. I

can't really picture her as Christine, but she was

really good. And I loved the duet of For Good.

Matt Morrison is also amazing, and I'm glad

he's going back to Broadway. I'd also pay a lot

to see Kristin and Matt do a show together. Add Idina Menzel, they can all rip on Glee, sing

some of their better songs from the show, and

then just have a night of great music.

I'm so excited about Matt's return to Broadway. I'll be surprised if he doesn't work with Jristin Chenoweth at some point in the future.

[aradia22]

When it comes to male singers, I like warm-sounding tenors (kind of that Disney/Glee vibe... Matt Doyle or Brian D'Arcy James come to mind) because what I'm really after is that beautiful baritone or bass-baritone sound. I agree that Jackman doesn't count. Even if he can somewhat sing in that range the vowels ruin it for me. There's more to being a certain category of singer than hitting the notes. I've only listened to Hey There from The Pajama Game but I'm planning to listen to more John Raitt when I'm next in the mood for more Broadway albums. Howard Keel is who I think of as well so he definitely deserves a mention. I think I heard John Barrowman describe himself as a tenor/baritone but I haven't heard him sing enough. There's enough high pitched male singing in popular music. I'm ready for the baritones and bass-baritones to make a comeback in theatre.

[ancslove]

Hmm, I can't really think of a romantic male lead who isn't a baritenor or straight tenor.  I guess there's Emile in South Pacific, but even that has Cable as the young romantic hero, and Cable is a tenor.    

[Sara2009]

When it comes to male singers, I like warm-sounding tenors (kind of that Disney/Glee vibe... Matt Doyle or Brian D'Arcy James come to mind) because what I'm really after is that beautiful

baritone or bass-baritone sound. I agree that

Jackman doesn't count. Even if he can

somewhat sing in that range the vowels ruin it

for me. There's more to being a certain category

of singer than hitting the notes. I've only listened

to Hey There from The Pajama Game but I'm

planning to listen to more John Raitt when I'm

next in the mood for more Broadway albums.

Howard Keel is who I think of as well so he

definitely deserves a mention. I think I heard

John Barrowman describe himself as a

tenor/baritone but I haven't heard him sing

enough. There's enough high pitched male

singing in popular music. I'm ready for the

baritones and bass-baritones to make a

comeback in theatre.

What about Matt Morrison? He might be more of a baritenor, though. Edited December 10, 2014 by Sara2009

[ancslove]

I'd say he's on the lower end of a baritenor.  He's got a deeper tone to his voice than some (compare his Younger than Springtime to the original movie's), but his range is still pretty high.  If Neil Patrick Harris is a high tenor, Matt Morrison is probably a step below that.

[Rinaldo]

Hmm, I can't really think of a romantic male lead who isn't a baritenor or straight tenor.  I guess there's Emile in South Pacific, but even that has Cable as the young romantic hero, and Cable is a tenor.    

Most of the "golden age" leading male roles are for straight-ahead baritone: Curly in Oklahoma!, Billy in Carousel (though this, being fitted to the extraordinary voice of John Raitt, nowadays has to be cast with a "tenor" for comfort in the incessant F-to-G tessitura), Tommy in Brigadoon, Woody in Finian's Rainbow, Gabey in On the Town, Savory in One Touch of Venus, Sky in Guys and Dolls, Joe in Damn Yankees, both Tony and Joe in The Most Happy Fella, Bob in Wonderful Town... the list goes on. Even Ravenal, a tenor (operetta-style) in the original 1927 Show Boat, was adapted by the authors into a baritone for their 1946 revival, because that was the sound that spelled "romantic leading man" at that date.

 

Going to all the "Encores!" semi-staged one-weekend productions of older musicals, as I do, reveals that casting such roles is a terrible problem nowadays, when young men aspire to a light pop-semitenor sound (an Alfred Drake baritone breadth apparently sounds phony to the younger generation). Patrick Wilson, for instance, really wasn't right for the baritone secondary lead in Tenderloin. Brian Stokes Mitchell was a good approximation in Do-Re-Mi, Carnival (actually he was quite wonderful in that, a Jerry Orbach role), and Kismet. Otherwise we tend to get boys with inappropriately light-colored sounds. The best recent attempts to fill this gap in that series have been Will Chase and Cheyenne Jackson. (Jackson is on the borderline vocally, but he can get close to the right timbre, and his personal qualities carry him the rest of the way.) Ben Davis, an operatic fugitive, is just right in sound, but Encores! hasn't used him yet.

[Sara2009]

I'd say he's on the lower end of a baritenor. He's got a deeper tone to his voice than some (compare his Younger than Springtime to the original movie's), but his range is still pretty high.

If Neil Patrick Harris is a high tenor, Matt

Morrison is probably a step below that.

He can go pretty low for a tenor too.

[aradia22]

 

Even Ravenal, a tenor (operetta-style) in the original 1927 Show Boat, was adapted by the authors into a baritone for their 1946 revival, because that was the sound that spelled "romantic leading man" at that date.

It also spells out "romantic leading man" in my brain. ;)

[aradia22]

 

Happy Wednesday. Enjoy.

[ebk57]

Just bought tickets for Constellations in January.  Mr ebk is a huge fan of Ruth Wilson.  So...we'll see.  We will also see On The Town because I want to see it :-).  I'm hoping for a new discount code for Cabaret.  The current one expires on January 4.  This is a totally spur of the moment trip...if you can call 5 weeks out "spur of the moment."  

 

Can't wait!

[aradia22]

At first I thought... WHAT!?! (in a good way) Then I read that it was just another replacement in the Chicago revival. Nevermind. 

http://www.playbill.com/news/article/grammy-winner-jennifer-nettles-will-make-broadway-debut-in-february-2015-336912

 

Aw. The idea of Stephen Sondheim sitting down and watching all those videos just makes me so happy. I'd like to believe he'd do it. Or at least watch a good number of them.

http://www.playbill.com/news/article/sing-for-stephen-sondheim-composer-will-judge-woods-competition-for-advance-screening-access-337102

 

Educator discount at Honeymoon in Vegas.

http://www.playbill.com/news/article/broadways-honeymoon-in-vegas-offering-discounted-tix-to-educators-talkbacks-planned-336985

 

Love Letters is closing early. 

http://www.playbill.com/news/article/love-letters-will-end-broadway-run-early-336922

 

Too much story. Who wants this complicated of a story when they're going to see the Rockettes?

http://www.playbill.com/news/article/laura-benanti-will-headline-rockettes-spring-spectacular-show-at-radio-city-337030

http://www.playbill.com/news/article/sports-figures-business-moguls-rockettes-and-the-big-city-details-behind-radio-city-spring-spectaular-revealed-337075

 

One musical that would be fun to see performed by high school students. I still haven't gotten around to the cast album because I bought the CD and my laptop doesn't play CD's. Currently listening to Do I Hear a Waltz?

 

An opera based on The Shining.

http://www.playbill.com/news/article/songs-from-new-adam-guettel-musical-and-the-shining-opera-will-be-heard-in-nyc-337105

http://www.playbill.com/news/article/performance-rights-for-heathers-musical-based-on-cult-teen-film-now-available-337081

 

I'm hoping for a new discount code for Cabaret.  The current one expires on January 4.

I wish I could somehow get you discount Hiptix tickets.

[aradia22]

I finished listening to Do I Hear a Waltz. I loved "Someone Woke Up" and I liked "Stay." I could leave the rest of it. It wasn't terrible. It just wasn't... all that. Maybe it's better acted out but it doesn't stand alone very well as just music.

 

I decided to follow it up by finally listening to The Bridges of Madison County. Kelli O'Hara's Italian accent is certainly... fluid (it sounded kind of Scottish at one point) but her vocals are gorgeous, especially whenever she gets a solo. I've heard Hunter Foster sound better but I think that's the character and not him as a singer. I can kind of see why it didn't work for some people. It seems operatic at times and almost sung through. And it lacks that "hummable melody." Quite possibly too much is verbalized in the music. There are some elegant lyrics and ideas but then there's... other stuff. My instinct would be to cut some of it but then some people enjoy that kind of a musical. It's just a lot of information dumping for me. It took me a while to figure out why I wasn't totally able to connect to Steven Pasquale. I got it during "Wondering." He's given a weird melody that's slightly unsettling at times and makes you unsure if he's singing properly. He is. Still not one of my favorite Broadway guys but he sounds good on the recording. It's a good listen though aside from being a little long. It has an interesting mix of styles making it feel ever so slightly disjointed. There are some beautiful songs in the score though.

 

Speaking of baritones, Steven Pasquale has some low notes in his range but I can't tell if he's comfortable singing in that range because of the way the music is written. Also, I hear a lot of Brian D'Arcy James in Steven Pasquale's vocals.

[Rinaldo]

We will also see On The Town because I want to see it :-).  

That's terrific! I'm so glad you're seeing it. I plan to go again in January myself. I hope it makes it through that month (January's the tough one for a lot of shows, then sales tend to pick up again). A lot of folks seem to be opting not to see it, and it's well down on the lists of weekly grosses, when it's playing in one of the largest theaters of all. Based on the quality of the show itself and of this production, it ought to be up at the top! Oh well, who ever said life was fair ...

[Charlie Baker]

Re the Radio City show: But, hey, you get Laura Benanti in addition to the Rockettes.

Edited December 11, 2014 by Charlie Baker

[aradia22]

Well, that was fast. Side Show is closing January 4. http://www.broadway.com/buzz/178547/say-goodbye-to-the-freak-show-side-show-broadway-reboot-to-close/ The people in the comments are going on and on about how no one wants to see theatre anymore and it's all star-driven shows and Disney and how the subject matter is too difficult but honestly, as I said after listening to the album, I just think the score is flawed and there are much better musicals out there.

[aradia22]

Sara Bareilles previews a song from Waitress. http://www.playbill.com/news/article/sara-bareilles-musical-waitress-sets-world-premiere-at-a.r.t.-nyc-workshop-underway-337223

 

I've been a Sara Bareilles fan from her first album. And this sounds a lot like Sara Bareilles. But does it sound like a musical? It's hard to say without hearing the arrangement for the musical and not this piano ballad version. It does seem very slow though. I hope she didn't just write songs for herself. Again, I'm a fan but she doesn't have the biggest range and I hope she played to the strength of the actors and not her own preferences. Fingers crossed this is like when Barbra Streisand puts her spin on a song from a musical (that she's not in) and not how the score actually sounds. Thoughts?

[Rick Kitchen]

I'm wondering why ABC decided to bring out non-Broadway performers to do tiny snippets of show songs for their "Backstage With Disney on Broadway".  I can understand, somewhat, the duo from "Nashville", but why Darren Criss (although I am a huge "A Very Potter Musical" fan)?

 

They announced that "Frozen" will appear on Broadway.  No surprise there.

[aradia22]

 

Darren Criss (although I am a huge "A Very Potter Musical" fan)?

Yeah... Glee is a FOX show. There must be some connection we're missing. I know he's friendly with Lea Salonga (Mulan, Jasmine). Maybe he's just in the network of people who get called for things like this? Anyway, I have it taped but I might not get to it for a while.

 

I have a ticket to see a concert version of Not the Messiah at Carnegie Hall on the 16th with Marc Kudisch and Lauren Graham and Eric Idle. I'll let you know how it goes.

[Sara2009]

Darren Criss has also made no secret of the fact that he's a huge Disney fan. He used to post covers on YouTube.

I think he's a really mediocre performer, though,

[Florinaldo]

I think the snippets from performers who are not cast members of current Disney shows was to help gloss over the fact that this was mostly an hour-long commercial for shows currently running, perfectly timed for December. The Holidays and early January is a good period on Broadway for families and tourists who are in NYC and want to catch a musical or two. They have just been presented with a whole menu of family-friendly shows available to them.

 

This would explain why people like Elton John, Rosie O'Donnell, etc., were there only in blink-and-you-miss-it moments, although they advertised that more material can be found on the network's Web site. It was quite logical that Disney would instead focus on the current casts since they are trying to fill some seats. As for Darren Criss, he also has a connectiont through Alan Menken; I thought his rendition of the Aladdin song was just fine.

Edited December 15, 2014 by Florinaldo

[Sara2009]

What's Darren's connection to Alan Menken?

[aradia22]

And... I'm back from the Not the Messiah. Well, technically I was back a while ago but I had a late dinner before logging on here. It was a fun night. I kind of wish I'd gone with someone else so I'd have someone to share it with (it was one of those shows) but it was still a great experience. I was still in the cheap seats in the balcony but almost center this time. I don't know if the way they projected the sound was better or if it was just the performers but everything sounded better this time compared to the concert with Stephanie and Andrew I saw my first time there (not as a performer #humblebrag). That big string section produced a lovely lush sound though once again I thought the percussion section was too loud. Why are drums almost always too loud? All of the soloists were fantastic. There's no point critiquing Eric Idle, because, come on, it's Eric Idle. He was amazing. The two actors I wasn't familiar with, Victoria Clark and William Ferguson sounded great. He had a particularly nice voice and it carried in a beautiful way all the way up to the balcony. Lauren Worsham's soprano continues to be stunning though her performance style is... very similar to say the least. Marc Kudisch sounded great. I used to have a bit of a crush on him and he still cuts a fine figure. He was listed as a bass which was interesting because of the conversation we were having a little while ago. To that I say... eh. I don't know how I'd classify his voice. Maybe more baritone-y. It's a bit muddy because some parts of his range are definitely not as strong as others. 

 

I love paying attention to all sorts of things during performances, particularly to the ensemble or the chorus since I used to be one of those people. I am amazed at how many of them were stone cold sober faced during much of the performance. Even Eric Idle's Bob Dylan impression, guys? Really? Some time into the first act I did find someone to watch who was having a blast. Yay, binoculars. This is the kind of choral concert that makes me miss choral music. They sounded gorgeous. Though I was losing a few of the words from both the chorus and the soloists. Again, not sure if it was a performer thing or a sound system thing.

 

As for the show itself, there were some nice songs and it gave the singers a chance to shine but I think it came across like a lesser Spamalot. There were some songs that really sounded just a touch off from their Spamalot equivalents and I don't think the story or the lyrics were nearly as strong here though there are some good jokes and clever touches sprinkled throughout. If there's a plan to ever take it to Broadway or make it into an actual musical it'll need more work.

 

I'd probably get similar seats again. The bar wasn't really too much in the way this time though it was cutting off Marc at the waist a little since he was on the end. Really the biggest "obstruction" in my partial view seat was the tall guy two seats ahead of me (the front row of the balcony) who kept moving around. 

 

I waited at the stage door in the rain. But it was more of a light mist. 

Edited December 17, 2014 by aradia22

[aradia22]

Two questions I'd like to put forth. 

 

How do you feel about people using their phones in the theatre? Not that I'm against the internet or technology (obviously) but I'm generally content to stay on my laptop. I've never been one to mess around on my phone aside from getting directions or checking the time. I was amazed, peering down from the balcony during intermission at how many bright screens were staring back at me. And although you're not supposed to take photos, sooo many people were taking photos throughout from before the concert, to intermission, to curtain call, and possibly some times in between. And there was a particularly rude gentleman one row ahead of me, to my left who kept playing with his phone until the usher came over. Not a child. A grown adult (maybe 50-60 years old). So what are your thoughts on phone etiquette during any type of live theatre experience?

 

Secondly, I sometimes obsess about what to wear because going out to the theatre is one of my few excuses to really dress up (I'm obviously not a clubbing person). Plus what if I go to the stage door and want to take a photo, or what if I meet a cute boy, or maybe the ushers will judge me. Yes, I know I'm weird. Anyway, what are your thoughts on dressing for the theatre? Do you miss the ultra glamorous days captured in movies from say the 1930's-1950's? Do you think we should hold ourselves to at least some kind of standard? Or are you of the mind that theatre should be as inclusive as possible and people should dress however they feel most comfortable? 

[aradia22]

Encores season. Ellen Greene reprising Audrey after all these years seems like an odd choice but I can't deny that it got my attention. I've never listened to The Wild Party album all the way through but it's got some great songs. Very intriguing cast. http://www.playbill.com/news/article/ellen-greene-in-little-shop-jonathan-groff-in-new-brain-and-sutton-foster-in-wild-party-set-for-encores-off-center-season-337458

 

Tickets to Encores! Off-Center are on sale now to City Center members; $25 tickets will go on sale to City Center’s Peer to Peer members beginning Jan. 5, 2015. Tickets to the general public will go on sale beginning Jan. 19.

I know she mastered Billie Holliday but I don't know if this even makes any sense. You can't just throw out Audra's name for everything, especially since she can only be in one place at a time. http://www.playbill.com/news/article/aretha-franklin-eyeing-audra-mcdonald-for-biopic-337520

 

The plot is more reminiscent of flops than hits but it's got a great cast. Also, the bargain hunter in me can't help but me intrigued. http://www.playbill.com/news/article/musical-comedy-something-rotten-sets-spring-broadway-opening-at-st.-james-theatre-337551

 

Producers also announced that all tickets for the musical's first three performances on Broadway (March 23-25) will be sold for $15.95. These seats will be available beginning Dec. 19 at the St. James Theatre box office and online at Telecharge.com.

 

Wait, what? Do any of you have some familiarity with the source material? http://www.playbill.com/news/article/marc-kudisch-will-join-laura-osnes-in-workshop-of-broadway-aimed-somewhere-in-time-337549

 

That cast though... Can't justify the ticket prices. Oh, well. http://www.playbill.com/news/article/jeremy-jordan-will-head-cast-of-starry-parade-concert-337545

[Charlie Baker]

I appreciate all your posts very much, aradia22.  Thanks for the report on Not the Messiah. I read an interview with Idle where he doesn't see the piece going beyond this kind of presentation, but I wouldn't be surprised if it does, eventually, and maybe with revisions.  A chance to come near the success of Spamalot would tempt some producers, I would think. 

 

I don't see myself as an old fogy, but these following comments could get me pegged as such.  Standards in dress have lowered across the board, of course.  I don't know that I would favor men walking around in suits and ties in their everyday lives, and what I wear at home (where I work) I most often don't wear out in public. I don't wear jeans to the theater, let alone shorts or sandals or sneakers.  A venue like the Delacorte, or a grubby off-off Broadway space is a different matter, of course. The theater is a special event, more like dining at an upscale restaurant, not like going to an amusement park. 

 

Phones.  Why someone goes to the theater and finds themselves unable to tear themselves away from devices for a couple hours and actually give their full attention to what they've paid a fair amount of money to attend, I cannot understand. Plus it's inconsiderate and narcissistic.  And I applaud the kind of incident that I used to frown upon--actors stopping the show and calling them on it.  Here I will admit I am a Luddite. I understand theater has to embrace social media, but no tweet seats, please. Ever. 

 

Somewhere in Time is one of those movies that was ignored initially, but acquired a group of fervent fans, if I remember correctly.  I found it pretty sappy, and was accused of not being romantic.  Well, I guess I'm not, but I can get into a good love story or rom com. This one might make for a decent musical, he said, being generous. 

[Sara2009]

aradia22, did you see " The Light In The Piazza?" Victoria Clark was in that with Kelli O'Hara and Matthew Morrison. She even won the Tony that year. I guess I just assumed you had seen it since you're a big Kelli fan.

Edited December 17, 2014 by Sara2009

[aradia22]

 

I don't see myself as an old fogy, but these following comments could get me pegged as such.  Standards in dress have lowered across the board, of course.  I don't know that I would favor men walking around in suits and ties in their everyday lives, and what I wear at home (where I work) I most often don't wear out in public. I don't wear jeans to the theater, let alone shorts or sandals or sneakers.  A venue like the Delacorte, or a grubby off-off Broadway space is a different matter, of course. The theater is a special event, more like dining at an upscale restaurant, not like going to an amusement park.

Personally, I just try to put in a bit of effort. I dress kind of business casual or a little fancier depending on what I have in my closet (that fits) at the moment. I'll put on some (non-noisy) jewelry and do my makeup though I do wear high-heeled boots instead of heels. I can't really walk in heels and I don't have any other appropriate shoe choices. I don't think people should be turned away from the door for their choices but a little bit of effort would be nice. For instance, I spoke with a girl in sneakers trekking up the stairs. She was wearing sneakers because she had injured herself but otherwise she was dressed nicely. There were also some kids near me in the balcony (I think Carnegie has some kind of discount program) and I don't begrudge them for not going out and getting crazy outfits just for one night. I guess if you can't do business casual or eveningwear, "appropriate for church" would be the next option. A simple clean sweater, some dress pants. Though because of my love of people-watching I think it would be nice if more people took the opportunity to dress up. Maybe it happens at the ballet or opera. A vaguely remember some gowns when I went to the ballet a few years ago.

 

I understand the instinct to want to record performances whether video or audio. This goes back to my whole "why don't they just record everything" question so it will be preserved for future generations and theatre obsessives like me. But yeah, I don't understand the instinct to take photos. It distracts you, the people in the audience around you, and the performers for no real gain. I don't even really look back on photos from my vacations and when I do most of them don't recall any memories (since it's mostly sightseeing). When you're in the moment, you should be in the moment and not pulling out your camera.

 

 

aradia22, did you see " The Light In The Piazza?" Victoria Clark was in that with Kelli O'Hara and Matthew Morrison. She even won the Tony that year. I guess I just assumed you had seen it since you're a big Kelli fan.

No, I haven't worked my way around to it yet. I guess when it came out I found it intimidating. I hadn't see the movie or an actual opera yet and the music just seemed like something that wouldn't be appealing. I was still in my "hummable melody" phase. Bear in mind I was like 14 at the time. 

Edited December 17, 2014 by aradia22

[aradia22]

 

I'm wondering why ABC decided to bring out non-Broadway performers to do tiny snippets of show songs for their "Backstage With Disney on Broadway".  I can understand, somewhat, the duo from "Nashville", but why Darren Criss (although I am a huge "A Very Potter Musical" fan)?

I got around to watching the special today. It seemed kind of hastily put together, more of an ABC thing than a Disney thing (I know they're under the same umbrella but this seemed to cater to the TV side more) and they seemed to get whoever was available. Whoopi and Rosie are on The View. Sam and Clare probably have nothing better to do. There were bigger names they could have called in if they wanted to. It also seemed very condensed. I agree that it seemed like a big commercial more than a TV special or documentary though there were some nice moments. I hope someday they at least devote the effort they put into their DVD extras into doing a special on Disney theatrical. I think it's worth the time. There's a narrative there with everyone complaining about the Disneyfication of Broadway (which was hinted at here a few times) but people forget that Disney films are largely responsible for the youngest generations of theatregoers and musical theatre fans. And the shows are bringing more people to Broadway. I think if they took an honest look at some of the flops or not as successful shows (aside from shaking that baby doll did they ever mention Tarzan?) I think they could tell an interesting story about the 20 or so years of Disney on Broadway.

[aradia22]

Fire up the DVR. For when, I don't know. http://www.broadway.com/buzz/178918/audra-mcdonald-will-reprise-tony-winning-lady-day-at-emersons-bar-grill-performance-on-hbo/