Beautiful to look at, great opening, great ending, two attractive leads, but doesn't rate very high on the film musical list. The few songs are mediocre, and while the leads do the best they can, they are neither singers nor dancers. Watching the Garland/Kelly/Astaire/Vera-Ellen/Donald O'Connor/Crosby/Reynolds films during the holidays only makes LA LA LAND pale in comparison.
The Sondheim show we want to love, but it almost never delivers. There have been so many book revisions (I thought the latest was by James Lapine, but the only credit was Furth's, no mention of Lapine anywhere), that by now it really should have played better than it does. But very little lands during the first two hours. Arden's direction, the choreography and set design are so busy, that it is unclear as to what to look at and when. And for a show that moves backwards, I'm
I intensely disliked the earlier Broadway production, especially Lindsay Duncan, who I found weak and ineffectual in the role. Thought the film was great, although Malkovich was perhaps a tad too slimy, but Glenn Close was as good as she has ever been. Liked the current production a lot, saw it at a late preview, and was surprised at its lackluster critical reception.
Not surprised by these early comments, but more concerned than ever that Jerry Zaks has been handed the directing reins on HELLO, DOLLY! Yes, it's an old-fashioned show, but in the best sense, and while it doesn't necessarily need a lot of shtick added to it, a brilliant comic director like John Rando would have been a much more interesting choice.
And although most Sondheim shows barely pay back their investors, and business generally falls off after we Sondheim fanatics have been three or ten times, this would be very different. Audiences would flock to see Jake in a musical (yes, even a Sondheim musical), so come on, producers, get on the ball!
And yes, how amazing a recording would be. Of course, we know someone on this site has already made a recording, right? Don't be shy...
Back in 1984, when SUNDAY was being introduced at Playwrights, I moved heaven and earth to get in to one of the performances. I had a tiny relationship with Steve (I was a charter member of the NYC Gay Men's Chorus, and he had not only worked with us twice, a master class in itself, but had given us leave to do all and any of his work at no charge), and wrote to him, begging for a ticket. He put me on a waiting list, but it didn't happen (and as we all now know, there was only on
Great production, great acting across the board. Paid full price (discounted seats were not good), but even in the second row mezzanine center, sometimes had trouble hearing the dialogue. And I think the ending (POSSIBLE SPOILER?) should have been exactly as it was in the film, since both this adaptation and the screenplay were by Christopher Hampton. Still very worth seeing.
I have seen all parts of this show over the years, from the earliest incarnation, IN TROUSERS, through MARCH OF THE FALSETTOS, FALLSETTOLAND and finally FALSETTOS. Yes, I love the show, but I admit that I wonder how much resonance it has to LGBT or non-LGBT audiences who know little or nothing of the age of AIDS. For me, having lost my husband and most of my friends to AIDS, and having been a member of the NYC Gay Men's Chorus during this terrible time, it is impossible to watch this beau
This seems to be a pattern, but why have the comments about THE CHERRY ORCHARD and FALSETTOS and PLENTY stopped being posted? After the first few previews (which are not always indicative of how good or bad a show may be), no one bothers to post comments. I'm seeing later previews of these shows, and had been looking forward to hearing more comments about how these shows are doing, now that their preview periods are in full swing. Come on, fellow Chatboarders, give out!
Mister Matt said: "It was the highest-grossing show in the history of the Goodman Theater in Chicago.
I'm not surprised considering the tickets were the highest priced in Goodman history as well, which makes mention of the grosses nothing more than a sensational marketing ploy. The real evidence would be in the net income (if any). It's clear that a lot of money went into the design and God knows what the star salaries were. The current p
A dull, third-rate show with a mediocre score, and two divas in search of a musical. And this is coming to Broadway? Lupone and Ebersole were great, but cannot sell enough tickets in an extended run unless this show is extensively rewritten, especially the songs. Hope I'm wrong, and that it turns out great, but my trip to Chicago to see this was a waste of time and money.
It's a pretty amazing rendition, she's already been on Broadway in AFTER MIDNIGHT (why doesn't that show up in her Broadway credits?), and a revival of DREAMGIRLS would be heaven, especially with her as Effie. If the London reviews are really good, watch for a transfer...
SO glad I worked so hard to get these tickets. Became a member, was on their silly "queue-it" line, and when my number came up, there was an error, and I was pushed back to the end of the line! I was on the phone to the member office immediately, and though no one answered, left an impassioned message about what happened. Amazingly, they called back in three minutes, and offered me any tickets I wanted for the extension! As I am leaving NYC on the 26th, this worked out perfectly. Ha