HELLO, DOLLY! Previews

[Jarethan]

wewdie said: "Hello,

Would the back of the orchestra be a good seat for this production?  I've never been in the Shubert before.

-Eddie

It'll be fine.  I stood for A Chorus Line 5 or 6 times and thought the view was great.  Plus, that far back, even if you are on the side, you'll have a great view.

 

 

[brian1973]

This stupid question doesn't deserve an answer. 

pnewelljr said: "I have a side question. Can anyone tell me more about Bette Midler compared to Donna Murphy, just in general (as we obviously can't compare their performances at this point)? Why is Bette such a big deal?

 

"

 

[brian1973]

Not as good as a better seat.

icecreambenjamin said: "How's the view from the rear balcony?

 

"

 

[playbill-love]

Jarethan said: "wewdie said: "Hello,

Would the back of the orchestra be a good seat for this production?  I've never been in the Shubert before.

-Eddie

It'll be fine.  I stood for A Chorus Line 5 or 6 times and thought the view was great.  Plus, that far back, even if you are on the side, you'll have a great view.

 

 

 

"

I sat all over the orchestra for Matilda, including the far sides and standing room area, and always had a good view. The far sides even were never really significantly obstructed at all, and certainly weren't after maybe the 4th or 5th row. I was also happy with the mezzanine for that show, and sat in the balcony a couple times as well where I definitely felt far away from the stage and high up but didn't have any trouble actually seeing. I obviously haven't seen Dolly yet but in general I would definitely recommend the orchestra in the Shubert if you can snag a seat (I'll be sitting mid mezz for Hello Dolly on 3/30 because of price)

[icecreambenjamin]

brian1973 said: "Not as good as a better seat.

icecreambenjamin said: "How's the view from the rear balcony?

 

"

 I am a college student paying their way through school, I cannot afford a better seat.  You be should thoroughly ashamed of yourself for making such a rude and childish statement.  I was just wondering how the view was you ****ing asshole.

Brian, I've just looked at some of your other messages and realized that you're a complete bully without a decent thing to say about anything.  The majority of your posts consist of you calling people out for "stupid" questions.  I hope the mods do something about your bullying.

 

[pnewelljr]

brian1973 said: "This stupid question doesn't deserve an answer. 

pnewelljr said: "I have a side question. Can anyone tell me more about Bette Midler compared to Donna Murphy, just in general (as we obviously can't compare their performances at this point)? Why is Bette such a big deal?"
 

I'll just re-iterate, sorry to those for whom my question was offensive or upsetting; I won't argue that it could have been worded better. Also, thanks again to those people who gave really wonderful, heartfelt answers, you guys expressed things that I never would have taken away from just browsing a Wikipedia page.

I'm looking forward to finding out tonight for the first time why people feel so strongly for her (Bette).

[Dollypop]

I've already expressed how wonderfully moved I was by this production. It is joy personified. Just becausecwe love something or someone doesn't mean we should ignore the glitches in it.

I was greatly impressed with Bette but her performance isn't there yet. She has to start listening to the audience and find where the laughs land. Example: In "So Long Dearie" she punched up the phrase "You can snuggle up to your cash register" so much that the audience response was still going strong when the next line ("It's little lumpy but it rings" was covered by the residual laughter. In time, she she'll learn what to punch up and what is really the pay-off.

Did anyone else notice traces of Shirley Booth and Ruth Gordon inBette'speaking voice?

I have to say that one of my costume gripes was solved in this production. For years I've found Dolly's orange outfit in the first scene to be inappropriate for a widow . It matched Carol's oversized personality, though. I found her blue dress with a simple straw hat more fitting for the character and made her 2nd Act red gown more spectacular.

I missed what I call the "Bobble Head Crossover " while Minnie Fay delivered her monologue in front of the hat shop. I always looked forward to the way people "bopped" while Minnie chatted to the audience.

The last few times I saw the Channing revivals I marveled at the skill and dexterity of the waiters in "The Waiter's Gallop" but felt that the  choreography wasn't holding up well. I was happy to see that number was completely revamped for this production and it deserved the standing ovation it received on Wednesday night. Truth be told, though, I missed the original orchestration here--as well as the synchronized leaping at the end.

I truly enjoyed David Hyde Pearce's performance as Horace. His Niles Crane timing was very effective in his laugh lines. As for "A Penny in my Pocket", it's a delightful song, but is it really needed?

I loved seeing Bette dancing a bit more in the title song. Neither Ginger Rogers nor Betty Grable did as much dancing as Bette does.

In closing, I want to thank the lovely people who sat near me and commented that it was "delightful" seeing a man obviously enjoying the show as much as I was. They said I was positively "beaming" throughout the show--and the ladies dug into their bags to find me a fresh supply of Kleenex (We always shed tears ran when we're reunited with beloved friends, don't we?) Also, thanks to the young man who tried holding a conversation with me during intermission but realized I was too overcome with happiness to talk that he gave me a big hug and told me not to talk--just continue loving the show. 

It was a night of beautiful experiences.

I was a. High School senior we I first saw the show on January 16, 1964. I ' m now a senior citizen. Time flies! Welome back, Dolly.  I love you more than ever!

 

[Scarywarhol]

Seeing Dollypop and other long-time members of this board active and so exuberant in this thread makes me nostalgic for the BroadwayWorld I joined as an Actual Child...and it makes me kick myself over never buying a ticket for this. (I mostly follow new work, revivals of Golden Age shows rarely turn out to be such tough tickets, etc.) I'll get in somehow, but it will be the mission of the season!

[RagtimeRay]

Dollypop said: "I've already expressed how wonderfully moved I was by this production. It is joy personified. Just becausecwe love something or someone doesn't mean we should ignore the glitches in it.

I was greatly impressed with Bette but her performance isn't there yet. She has to start listening to the audience and find where the laughs land. Example: In "So Long Dearie" she punched up the phrase "You can snuggle up to your cash register" so much that the audience response was still going strong when the next line ("It's little lumpy but it rings" was covered by the residual laughter. In time, she she'll learn what to punch up and what is really the pay-off.

Did anyone else notice traces of Shirley Booth and Ruth Gordon inBette'speaking voice?

I have to say that one of my costume gripes was solved in this production. For years I've found Dolly's orange outfit in the first scene to be inappropriate for a widow . It matched Carol's oversized personality, though. I found her blue dress with a simple straw hat more fitting for the character and made her 2nd Act red gown more spectacular.

I missed what I call the "Bobble Head Crossover " while Minnie Fay delivered her monologue in front of the hat shop. I always looked forward to the way people "bopped" while Minnie chatted to the audience.

The last few times I saw the Channing revivals I marveled at the skill and dexterity of the waiters in "The Waiter's Gallop" but felt that the  choreography wasn't holding up well. I was happy to see that number was completely revamped for this production and it deserved the standing ovation it received on Wednesday night. Truth be told, though, I missed the original orchestration here--as well as the synchronized leaping at the end.

I truly enjoyed David Hyde Pearce's performance as Horace. His Niles Crane timing was very effective in his laugh lines. As for "A Penny in my Pocket", it's a delightful song, but is it really needed?

I loved seeing Bette dancing a bit more in the title song. Neither Ginger Rogers nor Betty Grable did as much dancing as Bette does.

In closing, I want to thank the lovely people who sat near me and commented that it was "delightful" seeing a man obviously enjoying the show as much as I was. They said I was positively "beaming" throughout the show--and the ladies dug into their bags to find me a fresh supply of Kleenex (We always shed tears ran when we're reunited with beloved friends, don't we?) Also, thanks to the young man who tried holding a conversation with me during intermission but realized I was too overcome with happiness to talk that he gave me a big hug and told me not to talk--just continue loving the show. 

It was a night of beautiful experiences.

I was a. High School senior we I first saw the show on January 16, 1964. I ' m now a senior citizen. Time flies! Welome back, Dolly.  I love you more than ever!

Dollypop, you mentioned a change from the orange dress. We've seen the picture from the title number. Can you be more specific about Bette's costumes?

Also, what about the scenery for this production versus the original? Significant changes?

Thanks.

 

 

"

 

[bk]

Dollypop said: "I've already expressed how wonderfully moved I was by this production. It is joy personified. Just becausecwe love something or someone doesn't mean we should ignore the glitches in it.

I was greatly impressed with Bette but her performance isn't there yet. She has to start listening to the audience and find where the laughs land. Example: In "So Long Dearie" she punched up the phrase "You can snuggle up to your cash register" so much that the audience response was still going strong when the next line ("It's little lumpy but it rings" was covered by the residual laughter. In time, she she'll learn what to punch up and what is really the pay-off.

Did anyone else notice traces of Shirley Booth and Ruth Gordon inBette'speaking voice?

I have to say that one of my costume gripes was solved in this production. For years I've found Dolly's orange outfit in the first scene to be inappropriate for a widow . It matched Carol's oversized personality, though. I found her blue dress with a simple straw hat more fitting for the character and made her 2nd Act red gown more spectacular.

I missed what I call the "Bobble Head Crossover " while Minnie Fay delivered her monologue in front of the hat shop. I always looked forward to the way people "bopped" while Minnie chatted to the audience.

The last few times I saw the Channing revivals I marveled at the skill and dexterity of the waiters in "The Waiter's Gallop" but felt that the  choreography wasn't holding up well. I was happy to see that number was completely revamped for this production and it deserved the standing ovation it received on Wednesday night. Truth be told, though, I missed the original orchestration here--as well as the synchronized leaping at the end.

I truly enjoyed David Hyde Pearce's performance as Horace. His Niles Crane timing was very effective in his laugh lines. As for "A Penny in my Pocket", it's a delightful song, but is it really needed?

I loved seeing Bette dancing a bit more in the title song. Neither Ginger Rogers nor Betty Grable did as much dancing as Bette does.

In closing, I want to thank the lovely people who sat near me and commented that it was "delightful" seeing a man obviously enjoying the show as much as I was. They said I was positively "beaming" throughout the show--and the ladies dug into their bags to find me a fresh supply of Kleenex (We always shed tears ran when we're reunited with beloved friends, don't we?) Also, thanks to the young man who tried holding a conversation with me during intermission but realized I was too overcome with happiness to talk that he gave me a big hug and told me not to talk--just continue loving the show. 

It was a night of beautiful experiences.

I was a. High School senior we I first saw the show on January 16, 1964. I ' m now a senior citizen. Time flies! Welome back, Dolly.  I love you more than ever!

 

 

"

I just want to say one thing - when you say the Waiter's Gallop choreography wasn't holding up but you loved the dancers in the last Channing revivals.  The Waiter's Galop has been deteriorating for decades due to sloppy recreations that lost all of the inspired lunacy and energy of it - it was too slow, and no one was having the fun the original dancers had all throughout the original Broadway run, where it was always amazingly fresh because Gower kept close tabs on everything.  I was shocked how sloppy and tired it was in the last two Channing revivals, so I completely understand you're saying what you're saying, but you can't blame the choreography - when done correctly, it's sheer genius.

[IdinaBellFoster]

Thank you Dollypop - that was beautiful. I love moments like that in the theatre, particularly with strangers. It speaks to the power of art. 

[pnewelljr]

I just got home and all I can say is "wow." I am still on a little bit of a high and processing, but this is what I can put into words at the moment.

I've never been to anything like this before, the energy in the audience and in the whole theater was electric. I can't ever remember being as starstruck ever in my life as I was tonight with Bette. She is in a league of her own, and I can't really imagine seeing anyone else do the role justice. You couldn't help but want to just break into applause with every line she dropped (and unsurprisingly, that is exactly what happened).

Not to retread what's already been discussed, but I completely understand what people mean now, there is something about her performance that is just different from anything I've ever seen in my life. I feel so fortunate to have seen something so special that I will never forget.

On top of all that, I don't think I have ever heard an ensemble be so perfectly on pitch and on point as the ensemble was tonight. Everyone on that stage was completely enthralling, and I didn't want to take my eyes off of any of them.

Gavin Creel is a gem, he was everything you would want and more, and he really stole the show at parts, especially with Put On Your Sunday Clothes. I never realized how great that song was, but I guess this is also my first time seeing this show live.

I have no doubt this show will win for best scenic and costume design, I don't want to spoil anything, but somehow they managed to make something that was so classic and respectful to the original material but so fresh and unique at the same time.

The choreography was exceptional throughout, but I think my sister and I were just both floored at The Waiter's Gallop and the choreography during the title song, it just took a moment that was already perfect and somehow made it more so.

The only revival I've even come close to loving as much, this year, is Sunday in the Park, but as we all know that has been withdrawn from the Tonys. I think this show is a shoe-in for best revival as well.

Finally, I just want to say I have never gotten so many chills, had so many massive grins on my face or felt what I thought must be a strange need to cry this much at any show before (and a musical comedy no less). There is something magical going on at the Shubert, and you can bet I'm doing everything I can to see this as many times more as I can before it closes and/or Bette departs.

[Johntlew2]

[PaulWom]

Oh, so glad to hear the orchestra seats are good. Didn't love them when I saw Matilda. How does the show sound? Matilda always felt so tinny to me in that theatre (which was always a shame).

[brian1973]

I think you need to calm down, plus calling me an Asshole is more like "bullying" than what I said.

I just saw your message on the War Paint thread too telling someone to go f**k themselves, you might want to look in the mirror and grow up a bit before calling others out.

This board is just increasingly littered with questions about views from seats that are really obvious. That is all.

Dont waste your time with a childish response to this, back to discussing theatre.
said: "brian1973 said: "Not as good as a better seat.

icecreambenjamin said: "How's the view from the rear balcony?

 

"

 I am a college student paying their way through school, I cannot afford a better seat.  You be should thoroughly ashamed of yourself for making such a rude and childish statement.  I was just wondering how the view was you ****ing asshole.

Brian, I've just looked at some of your other messages and realized that you're a complete bully without a decent thing to say about anything.  The majority of your posts consist of you calling people out for "stupid" questions.  I hope the mods do something about your bullying.

 

 

"

 

[brian1973]

I can't think of any other show getting this kind of reaction on here (well one not called Hamilton). Very very excited to see it now, the atmosphere in the theatre must be pretty incredible

[Dollypop]

HELLO DOLLY! has always been an explosion of joy. This production captures that magnificently and it's something we need in our troubled world. It brings out the best in people and causes audiences to smile broadly--what's more, the smiles don't end when the show's over. People are still smiling when they pour out into Shubert Alley.

[poisonivy2]

I am so excited. I woke up at 3 am in a bout of insomnia. Went on telecharge, and saw that a non-premium ticket had popped up for March 25 which happens to be my birthday. So now I've got the perfect birthday present. Whee!!!

[dramamama611]

I picked up tix for this summer without Bette, my kids know the show, but not her...so better seats sooner was the clear option.   I'm a Donna Murphy fan, so I'd thought I'd be OK with it.

 

Pretty sure I've got to figure out another time to get in the city to see Bette.

[bwaybri2]

I was at  the show last evening and wanted to give my take on the show. First of all this is maybe the 70th or 80th show I've seen on Broadway, and I've never seen an audience react the way they did to a show. There was way more electricity in the house then Hamilton or say the final night of Next to Normal.  

I had second row balcony and for the incredible scenery I would advise either front mezz or balcony. Some of my colleagues sat in the mid to rear mezz and they said they felt like they missed a lot of the big pieces.

There was an empty seat mid orchestra that I went and sat in  and during intermission and I made the decision to go back up to the balcony as it was a better seat for sure.

 

The star power of Dolly covered a few hiccups.  She dropped a few lines and her voice sounded tired but her comedic timing and 'bits" were over the top brilliant.  

The orchestra was super and balanced well, however the sound mix from the actors was poorly eq'ed.   It was thin and tinny so much so that for the first few numbers it almost sounded like I was listening to it on a bad pair of headphones.    It did improved but was a distraction for much of the first act.   

 

All told it was an amazing night of theatre.   Get a ticket!

 

 

 

[Stage Door Sally]

Argh, never say never. I wanted to avoid this thread in order to retain the element of surprise, but then my husband said, "Why are you concerned about spoilers, you know the show inside and out." True, a few years ago I even saw two Dolly productions in one week (Cape Cod and Goodspeed). So curiosity got the best of me and I skimmed through the comments. The joy is contagious! In a time full of agony and strife, this is the best news ever for theatergoers! 

God-willing, there will be three generations of my family attending in June — me, my daughter, and my mom who will be flying in from Wisconsin for the weekend and will need the use of a wheelchair and walker. Sharing this experience together means so much to me and my mom. I'll never forget playing her OBCR over and over and over. The songs gave me life. My daughter doesn't realize yet how wonderful this moment will be for us, but I think she will when she gets older and looks back on it.

Thank you all so much for sharing your experiences.

 

[yankeefan7]

I am going Labor Day weekend, could not make it to NYC any earlier this year.

[10086sunset]

Stage Door Sally said: "God-willing, there will be three generations of my family attending in June — me, my daughter, and my mom who will be flying in from Wisconsin for the weekend and will need the use of a wheelchair and walker. Sharing this experience together means so much to me and my mom. I'll never forget playing her OBCR over and over and over. The songs gave me life. My daughter doesn't realize yet how wonderful this moment will be for us, but I think she will when she gets older and looks back on it."
 

Sally, that sounds like it will make for such a beautiful moment!

 

[Zamedy154]

Curious to what is meant by her voice sounding "tired." Throughout? On the higher notes in, perhaps, 'Parade?' Not to sound disrespectful at all, but Channing won a Tony singing this score. 

Vocal experts - could her voice actually continue to  grow into the role/strengthen?

What a testament to her as an entertainer that any vocal shortcomings are not taking away from rave reviews of her performance. It goes to show that you can be a 'belter' with a voice that blows people away but still lack the "it" factor of others. 

[MarkBearSF]

poisonivy2 said: "I am so excited. I woke up at 3 am in a bout of insomnia. Went on telecharge, and saw that a non-premium ticket had popped up for March 25 which happens to be my birthday. So now I've got the perfect birthday present. Whee!!!"

Have a very happy birthday! You share the day with my husband. (We're seeing Fiasco's "Into the Woods" in SF to celebrate his day)

[ACL2006]

That Waiter's Gallop is some of the best choreography to ever grace a Broadway stage. I'd be very disappointed if I saw this and that looked sloppy. Also, having done this show twice back in the day, I know what a b!tch the Waiter's Gallop is.