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[Hereindc]

Posted: 1/25/15 at 6:11pm

Been amused at all the comments especially from people who haven't seen the show.
As far as the costumes...the dresses are absolutely fantastic. People were joking, forget about the tourists, every gay man in NY and every person who works in the fashion district is going to check out the show. The stage and scenery is top class. While the staircase remains throughout, the backdrop with the Eiffel tower and other furniture and items slide in and out seamlessly. There are some issues with the performance... there were some sound level issues, and the first act needs work but these are areas that will be tweaked before opening night. As far as the cast, I personally might make one or two changes but that is personal preference. Vanessa Hudgens easily pulls off the look of a young teen in the beginning and is stunning as a late teen/20s in a black and white dress that reminds me of Audrey Hepburn at the end. Her voice is a bit high for me but it fits the part to a T. Understand why the producers thought she was perfect. Bonus revenue is going to come at intermission as there were lines to get a glass of champagne at intermission right after the song The Night They Invented Champagne plays. Saw it midweek and it was a full house, seats about 1000.

[MCfan2]

Posted: 1/25/15 at 7:12pm

Forgive me, I'm going to ramble. I have tons of thoughts about "Gigi" after seeing it this afternoon, and I want to get them down while they're fresh in my memory. For those of you who don't want to read lots of rambling, I'll give you the TL;DR version up front: It's not bad but it needs work, especially the first act.

I went in with my hopes pretty high -- I like the movie and I've liked other projects of Heidi Thomas's. As far as the book was concerned, I felt rather disappointed. Some things work -- she's fleshed out the character of Liane, which works really well, and she's also fleshed out a lot of the relationships (i.e., Gigi & Mamita, Gigi & Gaston, Honore & Mamita). Trying to expand Gaston's character did not work nearly as well; she's made him interested in aviation and engineering, which I thought was just distracting. This led to a reworking of "It's a Bore," which I thought did not work AT ALL. I wonder if that scene and number have been changed recently, as the actors played them rather haltingly. In any case, they need to be changed again!

(My mom, who was with me, thought differently about the aviation thing; because Gigi took an interest and encouraged him in it, she thought it strengthened the connection between them and showed that both of them had intelligence. So let's say the jury is split on that one. )

On the plus side, a few new lines here and there were hilarious. I won't give them away for the sake of those who are going to see it after me. But some of the scenes got too talky and too elaborate.

The cast is GREAT across the board. Not a weak link. Hudgens, whom I'd seen little of before, is just adorable -- lovely voice, and great energy and enthusiasm. She managed the transition from little Gigi to grown-up Gigi without a hitch. This role suits her perfectly. (One other thing I noticed: Her diction was excellent. She enunciated so well, you'd think she'd been working with Henry Higgins instead of Aunt Alicia!)

Cott has a fine voice and a nice presence, and his singing of "She Is Not Thinking of Me" was a highlight. McGillin was good -- I've always liked him -- but they need to age him up! He looks way too young! Victoria Clark was a wonderful and touching Mamita; she and Thomas between them have given the role great depth. But far and away the best performer was Dee Hoty, who was BRILLIANT as Aunt Alicia. The audience adored her; she earned a laugh on nearly every line she spoke!

The added songs were lackluster, except for "Wide, Wide World" and "The Contract" -- those two were good. The opening song and scene did nothing for me. The changed "Thank Heaven" done by Mamita and Alicia worked VERY well, much better than I expected. But the changed "I'm Glad I'm Not Young Anymore" didn't. McGillin and Clark sold it very well, but the staging went directly against the sentiment of the lyrics. "Say a Prayer" as a solo for Mamita was problematic; they had to change and move pronouns in a way that would have horrified the soul of Lerner.

The costumes were spectacular -- loved them all! I liked the sets too. The giant staircase/Eiffel Tower thing may look odd in a photo, but they actually used it very effectively.

The choreography was all over the place. The choreography for "The Gossips" at Maxim's needs fixing, pronto. They looked like they were doing the Walk Like an Egyptian. But other numbers, like the first-act finale and the second-act opening, were beautifully choreographed.

I liked that this ending gave Gigi more of a voice in how things turned out. Whoever said that the ending should have focused just on her and Gaston, and the rest of the cast should have been saved for the curtain call -- you got your wish! And you were right, it worked well. Very sweet ending.

It was a fun afternoon of theater, but as I said, it needs work -- especially the book -- before it goes to Broadway. Honestly, in my personal opinion, "Little Dancer" was far readier for Broadway than "Gigi" is. But alas, I don't get to make those decisions!

Updated On: 1/25/15 at 07:12 PM

[acekatherineplumber2]

Posted: 1/26/15 at 1:14am

So...Gigi....

I went into this show knowing nothing about it and having medium expectations. I was really impressed. I couldn't stop smiling the entire time I was in the theater!
I thought the music was pleasant, the orchestra was lush, the lyrics were smart, and the vocals were very strong across the board.

I liked the story. I loved seeing Gigi grow up, yet retain her spunk. Her arc was interesting. I appreciated the emphasis on her relationships with all the other characters. The show did not have a complex plot--it was essentially about a girl maturing and the effect her family and friends had on her, and vice versa, and I admired its simplicity. The story did not seem outdated to me.

I thought the set was ornate and beautiful. The primary staircase set piece was nothing short of gorgeous. The backdrop projections behind it were subtle and effective. The other set pieces were elaborate. I particularly enjoyed Mamita's apartment. The lavish seating arrangements at Maxime's were also a highlight. I love the "half room" approach to the set--in which the furnishings are present, but not the room itself. I found even the flooring of the stage to be attractive. The lighting was successful and quite lovely. The dramatic lighting at the buttons of the various numbers was appealing.

I thought the choreography was very creative and unexpected. I have not seen dancing like the dance in Gigi before and I enjoyed it a great deal. It was quirky and appropriate for the show. Additionally, the ensemble are all fabulous dancers.

The costumes were superb. The multitude of gowns used in the show were all unique, and each more sumptuous than the last. The trains in the back of many of the dresses were so elegant and I loved the variety of materials used to construct these costumes. The swimming costumes were delightful as well.

As for the actual performances:

I thought Vanessa Hudgens was an engaging Gigi. At the beginning, she displayed unrestrained carefree youthful enthusiasm, and over the show's course gradually metamorphosed from an immature teenage girl into an independent sophisticated young woman. She delved into this part. She was a very physical actress. She embodied the role and its accompanying idiosyncrasies. Her portrayal of Gigi at the beginning of the show brought to mind Laura Osnes's Cinderella. Vanessa's vocals were very very strong. Her belt was very clear and supported and pretty, and her low notes and higher notes were supported well. She has a perfect musical theater voice that fits Gigi spectacularly. She was a talented dancer; her dancing appeared effortless.She has fantastic stage presence.

Corey Cott was an amusing and charismatic Gaston. An avid dreamer, he won the audience over with his pleasant voice (when speaking and singing). He played a lively version of the character and he was quite funny at times. He was a strong actor and was very in touch with his character. He had a number of solos and his voice shone. It was both mellifluous and powerful. His act 2 solo, Gigi, especially showcased his stupendous acting and singing skills. Corey also has fantastic stage presence. He created obviously different relationships with all the characters he interacted with during this show. He and Vanessa had nearly tangible chemistry in the final scenes of the show.
Victoria Clark inhabited the role of Mamita. She was endearing and charming and her relationship with Gigi appeared so natural. Her voice is stunning and beautifies an already exquisite score. She was also an accomplished dancer. Her performance is breathtaking and expressive and effortless and reels the audience in.

Dee Hoty truly became Alicia for the duration of the show. She played a very exaggerated character and she was hilarious, garnering most of the laughs throughout the night. She seems to have natural comic timing. She is also a very physical actress. Her voice matched her character very much. Her scenes with Gigi and Mamita were where she displayed her finest acting. These scenes were also the funniest. She had an adequate voice that certainly suited the score.

Steffanie Leigh was great as Liane. She seemed very comfortable in the role and the role seemed perfect for her. It fit her (remarkable) voice well. She was an adept dancer and an outstanding actress. Her performance was a standout this evening.

Howard McGillin gave a fine performance as Honore. His voice was rich and divine. His vocals were his strongest attribute, though he was a capable actor and gifted dancer as well. His performance was overshadowed by some of the other talent in the show, though.

It's 1 am and I've never attempted to write a review before, so forgive me if there are spots where this first endeavor is weak or inconsistent. I loved this show and have very high hopes for it. I'm truly struggling to think of anything to say about it. I will contend, though, that I do often have slightly different tastes from the general masses and I tend to love classic or classic-style musicals and I am aware that plenty of people do not enjoy this form of musical theater. As with any review, take mine with a grain of salt and merely understand that I am overjoyed because of this production.

[Christine17]

Posted: 1/26/15 at 6:42am

Ms. AceKatherine,

What an insightful review! It was a treat to read. You have such discernment -- in the visual display of the sets and costumes, the choreography and dancing, the vocals, and in your perception of the acting. You point to nuances that I missed, and so enjoyed gaining from your perceptions. And your review seemed to capture much of the magic of a broadway musical. It filled out the whole experience for me. I hope you write more reviews.

Christine

[neonlightsxo]

Posted: 1/26/15 at 11:00am

"People were joking, forget about the tourists, every gay man in NY and every person who works in the fashion district is going to check out the show."

Calm down with the hyperbole. This has never been true of any show. Ever.

[acekatherineplumber2]

Posted: 1/26/15 at 12:59pm

Christine:
Thank you! I really appreciate that! I was worried that my review seemed quite jumbled and didn't make too much sense and also didn't sound that good since I'm just a high school student and I'm still learning to write. You've assuaged my fears a great deal, though. I'm glad you enjoyed reading it and I do plan to review every show I see in the future. I won't be seeing anything until March, however.

[RW3]

Posted: 1/26/15 at 6:34pm

Vanessa Hudgens looks adorable. Corey Cott is just hot, plain and simple. However, I'm not really loving Howard McGillin's costumes.
Press Photos (Broadway.com)

[Musical Master]

Posted: 1/26/15 at 7:00pm

Wow, looking at the photos, this is one of the best looking productions I've seen from the Kennedy Center so far. I can't wait to see what costumes Catherine Zuber has planned for THE KING AND I.

[disneybroadwayfan22]

Posted: 1/26/15 at 7:13pm

Vanessa looks absolutely charming! Everyone looks great!

[disneybroadwayfan22]

Posted: 1/26/15 at 7:13pm

Vanessa looks absolutely charming! Everyone looks great!

[sctrojan65]

Posted: 1/26/15 at 9:20pm

So for those who have seen this (and for those who are familiar with Gigi's first incarnation on Broadway some 40 years ago), what's different?

The movie did well, winning awards.

When it appeared on Broadway it didn't do well.

Now that the movie is 50+ years old and the Broadway show is some 40+ years old, it seems that it would run into the "dated" label, big time, the way that term gets thrown around when an old musical gets revisited.

Was the original Broadway show that bad with regard to its cast, sets, costumes, etc.? And is this rendition that much superior?

Definitely glad to see it's doing well. I just might see this in NY this spring.

Interesting though to see the response it's getting. "Dated" seems to be a real phobia when it comes to a lot of theater goer's feelings about musicals like this. And it seems like this musical in particular receives a "meh" from a lot of people. Specifically in that "dated" sense of the word.

Curious to hear what's making it so great all of a sudden. It's still pretty much the same musical it always was, right? Any thoughts? Thanks.

[Auggie27]

Posted: 1/26/15 at 9:27pm

I wrote my strong feelings about the show's archaic views on/of myriad issues (somewhere above), which was resoundly (and to those cheering the revival's prospects, appropriately) ignored. Many people seem to be rooting for this new configuration to take hold. I don't understand the groundswell of intrigue and interest for reasons I documented, particularly in a post-WICKED B'way and a post-FROZEN culture, when girls and young women find fresh spins on a trajectory outside being saved by love (alone). The show's view of steps taken toward female empowerment, rather than illuminating about the past in light of the present, to me hold a yardstick up to the chasm between then and now. But only the paying audience knows for sure. If GIGI catches theatrical fire in 2015, I will apologize for my doubts and indeed (I'll own it, fully:) my naysaying. If women buying seats to Broadway for themselves, their daughters, and sons, and everyone else, find this a story to embrace anew, I'll shut up.

[OlBlueEyes]

Posted: 1/26/15 at 11:28pm

I'm not sure why GIGI should be criticized for accurately depicting the social milieu of Paris at that time. It's not as if the production is endorsing the values that are now reprehensible to us. It seems rather like criticizing films based on Jane Austen or Dickens for showing us Victorian England in all the ugliness of its class structure.

My guess is that the original Broadway production was created because it was thought to be a can't miss hit. The film was still highly regarded, the music well known, and Lerner and Loewe were available to write additional songs. A dramatic stage production of Colette's novel had been a success that launched Audrey Hepburn on the path to stardom.

But the producers, perhaps through overconfidence, just took the book of the film and put it on stage. They failed to to theatricalize it and especially to cast it properly. I don't recall the sets or costumes being very lavish. What sticks in my mind is the drabness of Mamita's apartment.

The single biggest error I believe was the casting of Gigi herself. Karin Wolfe's undistinguished career was highlighted by a role in a soap opera. She had none of the charm of Hepburn, Leslie Caron, and apparently Vanessa Hudgens. She came down more on the side of a contemporary American girl magically transported to Paris.

If the producers and other talent behind this new stage production can get a hit out of this now moribund property, I think that they'll have done something very special.

[bruzson2]

Posted: 1/27/15 at 9:38am

Thanks for letting me know -- that was my response. Will be interested to see if they stick with this ending when they get to NYC. Is "The Contract" number still a lengthy drag (despite, as others have noted, Dee Hoty's excellent performance)?

[MCfan2]

Posted: 1/27/15 at 10:56am

"The Contract" was a little long, but I didn't really find it a drag -- maybe because I'd never seen or heard it before. So perhaps it had the charm of novelty for me. Hoty kept it lively and interesting, and so did Clark in her own way. I don't know if this was true of the previous Broadway production, but Alicia and Mamita (or Inez, as Alicia calls her) are very much at cross purposes in this version of the show. Alicia is still determined to have Gigi follow in her footsteps, but Mamita doesn't like the idea and only follows with the greatest reluctance. So there's some tension between them in this number (and in other scenes as well), which adds interest.

As for "Frozen" and "Wicked," I realize they're incredibly popular, but I wasn't aware that a law had been made that every story must be just like them from now on. There's still room for all kinds of stories, including love stories, and "Gigi" is a love story, plain and simple. I don't think it's accurate to say that Gigi is "saved" by love, especially in this version, where, as I said, Gigi has much more of a say in the final scene. But she believes in love and in the end she attains the happy marriage that she wants -- and doing so, she shows up some of the mixed-up values of her culture. Nothing wrong with that.

Updated On: 1/27/15 at 10:56 AM

[RW3]

Posted: 1/27/15 at 12:02pm

Merchandise is available
Merchandise

[orangeskittles]

Posted: 1/29/15 at 11:51am

I saw this last night. I was curious to see this with the updated book, because I thought the movie was horrible and thought an update would make it less offensive.

The production is gorgeous, I love the sets and most of the costumes. There is a red outfit Vanessa wears (it looks pink in the press photos) that looks like it's made of polyester and looks really cheap and community theatre next to the ensemble's gorgeous costumes during The Night They Invented Champagne. Her bathing suit also looks like it's a shiny polyester. I hope it's temporary, because those stuck out like sore thumbs.

The cast is great. Great, classic musical theatre voices. Even Vanessa Hudgens's weaker voice kind of fits with the tone of a younger character.

But that book needs to be burned.

They really need to scrap Act 2 and start over. Gaston goes from seeing her as a little girl to "I will buy her a house so I can have sex with her" in 5 minutes. The scene where he gives his lawyer's card to Mamita so they can negotiate the terms of selling Gigi to him made me uncomfortable, and it was downhill from there.

I don't care how many laughs the lawyer scene gets, the entire premise is horrible. Alicia manipulates a loving, friendly relationship between Gaston and Gigi for financial gain. Gaston flips a switch from seeing Gigi as a little sister to "I will buy her for sex, because that is my only option". Gigi is completely against becoming his mistress, but finally gives into the pressure they put on her and sings a whole song about how she would rather be miserable as his mistress than not have him in her life at all. Yeah, "Choose L'amour" indeed.

The last minute change of heart when he asks her to marry him doesn't make up for an entire act of taking away every shred of Gigi's personality to force her against her will into a world she wants no part of.

I don't care if it's historically accurate or a commentary on 1900 Parisian society. It's 2015 and a musical comedy about child prostitution or- if we're supposed to accept she's legal- coerced prostitution does not come across well.

Updated On: 1/29/15 at 11:51 AM

[CarlosAlberto]

Posted: 1/29/15 at 12:50pm

Maybe they should just change the title of the show to GIGI: THE WHORE.

[Auggie27]

Posted: 1/29/15 at 12:58pm

For the record, my post said nothing remotely about needing stories to emulate WICKED or FROZEN. I was commenting on the cultural climate since both, and an audience's desire for the continued freshening of the tropes of romance. It's not really about period the stories are set; it's about expectations of ethos and eros. Everything from "Chick Lit" to "rom com", to use the sub-genres of the day, treats romantic stories with new spins, no matter when they are set. I'm speaking as much from a market-based expectation as a sociological perspective. If GIGI, reminted, can feel fresh -- again, in today's climate -- then the creative team has struck gold. We need hits; if this proves to be one, brava.

Updated On: 1/29/15 at 12:58 PM

[smallvillefan16]

Posted: 1/30/15 at 1:41am

Anyone have the songlist?

[hockeynut2]

Posted: 1/30/15 at 10:49pm

Read all the Gigi reviews in 'Other Reviews' on DCMetroTheaterArts. I'll be adding them in as they are posted.

We just posted the DCMetroTheaterArts review:
http://dcmetrotheaterarts.com/2015/01/30/gigi-kennedy-center/
All the GIGI reviews in Other Reviews on DCMTA

[smallvillefan16]

Posted: 1/30/15 at 11:25pm

Anyone? The site that had it got deleted.

[acekatherineplumber2]

Posted: 1/30/15 at 11:35pm

Song list:
Act 1-
Opening
It's a Bore
The Parisians
A Toujours
The Parisians (reprise)
The Gossips
She Is Not Thinking of Me
Thank Heaven for Little Girls
Paris is Paris Again
I Remember It Well
The Night They Invented Champagne

Act 2-
I Never Want to Go Home Again
Thank Heaven for Little Girls (reprise)
Gigi
The Contract
I'm Glad I'm Not Young Anymore
The Letter
Say a Prayer
The Gossips (reprise)
In This Wide, Wide World
Finale

[smallvillefan16]

Posted: 1/31/15 at 12:00am

Thank you!

[kyl3fong2]

Posted: 1/31/15 at 1:25am

awesome!