ALLEGRO at Classic Stage Company

[StageStruckLad]

Posted: 11/2/14 at 11:51am

Having seen a very good production of ALLEGRO in Astoria last year with a cast of 30 or so, I was curious to see how John Doyle was going to shrink it down to a cast of 12. Surprisingly, it worked pretty well last night. I did think it was a little odd having Claybourne Elder play Joseph Taylor Jr. as an infant, young boy, teenager and grown man. It might have been nice to cast one boy to play younger Joe, although I guess that would have meant a young Jenny would be needed, too. And the small cast also meant that as soon as a character dies (no spoilers here, don't worry), that actor has to hop into the chorus and continue to perform.

It's 90 minutes with no intermission, but the only real cut that I missed was the "Allegro" dance music. I don't think there was any benefit (other than monetary) to having the actors play their own musical instruments, although I was quite impressed at the abilities of some of the actors to play multiple instruments. And no matter what, the show still pretty much falls apart in (what would have been) the second act.

[CurtainsUpat8]

Posted: 11/2/14 at 12:08pm

Thanks for the review. I hope more people write who have seen it, I am sure they will. I saw the APAC production in Astoria and thought it was wonderful. I don't feel like I want to see this CSC production. Why they let John Doyle get away with this gimmick again is beyond me.

[indytallguy]

Posted: 11/2/14 at 12:37pm

Probably for the same reason we let people get away referring to what Doyle SOMETIMES includes in his directorial choices as a gimmick.

Could we once and for all agree that a significant artistic choice is not a gimmick, that he doesn't use it in every show, that it isn't ever going to be some people's cup of tea, and that for others in has sometimes been very well-received?

[CurtainsUpat8]

Posted: 11/2/14 at 12:52pm

I am afraid I disagree. It's totally a gimmick. Yes, it is also an "artistic choice", But, as far as I can see, he is the only director on the planet doing it. I am not trying to argue with you, you are entitled to your opinion. I just disagree. I am curious if he has ever answered the question "WHY" he does it. If someone has a link to that answer I would love to read it.

[dave1606]

Posted: 11/2/14 at 6:59pm

I saw the matinee today and thought it was mostly wonderful. John Doyle's concept works well here, and I thought Claybourne Elder in particular was excellent in the leading role.

I agree about the second act. The 15 minute book scene towards the end of the show is truly deadly, and I'm not sure Doyle did his best there either. I think those scenes really should pick up the pace a bit.

Overall, I thought it was a great revival with a strong cast. Definitely worth checking out.

[darquegk]

Posted: 11/2/14 at 7:43pm

Was this production using the original book or the revised one?

Also, count me in the class that LOVES "Doylian stagings" on paper, but is mixed with them in production. I've seen ones (directed by him or just in his style) that I've loved, such as his "Company" and also "Once," and then ones that I felt didn't work, such as his "Sweeney Todd."

I suspect that the closer a show's performance (not subject matter) is to realism or naturalism, the less a Doylian staging works. Hence, Sweeney Todd, which has a Brechtian chorus but uses songs primarily as dialogue, didn't quite fit, while shows where the music comments, underlines or coexists with the show rather than propelling it, such as "Company," work better. I have a friend who is performing in a Doylian staging of "The Secret Garden" right now, and that's a show I think would work well in this style too.

[LimelightMike]

Posted: 11/4/14 at 12:28am

This is a silly question, but is the stage "raised" like it was for PASSION, or is level with those seated in the front row?

[iluvtheatertrash]

Posted: 11/4/14 at 12:33am

Shame on John Tiffany, stealing other people's gimmicks...

[Kad]

Posted: 11/4/14 at 12:36am

Doyle is hardly the only director on the planet who utilizes actors as musicians. He wasn't the first. He's not the only. He won't be the last.

[darquegk]

Posted: 11/4/14 at 7:12am

Truth. He popularized it and made it into a trope, but to say he's the only one is a huge exaggeration.

[JBroadway]

Posted: 11/4/14 at 11:08am

Has anyone had luck with the student rush for this? I've never been to the Atlantic before, so I don't know whether the student rush usually works out/how early to get there.

[themysteriousgrowl]

Posted: 11/4/14 at 11:24am

It's at CSC, not Atlantic.

[josiahsjosiah]

Posted: 11/5/14 at 6:12pm

I have tickets to see this in December, but now I'm rethinking...would those who have seen this production categorize it as maybe more "interesting" than "wonderful"? I only get down to the City 5 or 6 times a year and I like to maximize my experience. At this point I'm seeing this at the "expense" of ON THE TOWN and HONEYMOON IN VEGAS, both of which I kinda figured I would try to catch when I come back in February or May. I'm not an R&H completist and I've already caught a few Doyle et al. "actors-toot-their-own-horns" productions, so that novelty doesn't intrigue me. I chose this because I really enjoyed CSC's production of PASSION. Should I change course? (Thanks all!)

Updated On: 11/5/14 at 06:12 PM

[RippedMan]

Posted: 11/5/14 at 9:39pm

I haven't seen it, so I can't comment, but I think you should see On The Town as it might not survive until May.

And I always assume if a production off-Broadway is successful it will live on somewhere else, but I guess that's not always true.

[LimelightMike]

Posted: 11/6/14 at 2:00am

Anybody with insight on the stage height?

[luvtheEmcee]

Posted: 11/6/14 at 10:41am

I might be the biggest proponent of John Doyle's actor-musician work in the world outside of the people who are actually employed by its existence. So I'm pretty excited about this, and grateful the run falls during a time when I'll be in town.

That being said, the last actor-musician show of his I saw was his Merrily re-boot out in Cincinnati, and I liked it very much. But, I did feel the concept only had moments where it worked as strongly as it has in the past, and that this was a case where it began to show its limits. The strongest storytelling in the production actually had very little to do with the instruments. Perhaps that's the downside to how stunningly it was employed the first two times we saw it.

Instruments or not, John's my favorite director, and I'm eager to see what he does with this show both with and without the instruments, because there's always so much more than that.

I am curious if he has ever answered the question "WHY" he does it. If someone has a link to that answer I would love to read it.

Most of the regulars on this board have heard my response to this a million times, but the search function on BWW still fails. If you're seriously curious, let me get back to you. Or PM me. I have some scans of articles that aren't online on my computer at home that might be of interest to you.

And I always assume if a production off-Broadway is successful it will live on somewhere else, but I guess that's not always true.

That's not even close to always true, for so, so many reasons.

In response to the "should I see it?" question: I think if you're going to go into what he does assuming the point is to get a look at a "novelty," you aren't going to like it. In the nearly nine years he's been directing high-profile work, I find that people's minds aren't easily changed about him, and they tend to see what they tell themselves they're going to see before they've even seen it. If your PoV is more like, let's see how he's going to make it work this time, because yes, every time it works quite differently, then maybe you might want to check it out.

And people need to stop insisting he's the only director who has ever and is ever and will ever do this. Its convenient for complaint but it just isn't true.

Updated On: 11/6/14 at 10:41 AM

[dave1606]

Posted: 11/6/14 at 10:59am

As someone who has seen this I would say it is absolutely worth seeing, and for me I enjoyed it much more than On the Town (though I wouldn't mind hearing it done with On the Town's Orchestra!).

I would definitely keep your ticket to this show. It isn't an often produced show, and sometimes it is the smaller shows that are way more worth it than anything on Broadway.

It isn't like there will never be another production of On the Town...Allegro..is certainly a little more iffy.

Also for those asking, the stage is quite low. I was in the second row on the side, but even in the front row you should have an excellent view.

[Melissa25]

Posted: 11/6/14 at 1:53pm

CSC just extending Allegro another week thru December 14th.

[themysteriousgrowl]

Posted: 11/6/14 at 2:51pm

I know it's an intimate space, but for anyone who's seen it, a question -- is there any reason to favor the center section for this staging?

[dave1606]

Posted: 11/6/14 at 4:16pm

Grow, I'd say the center 5 or 6 rows back is ideal. There are a few moments staged that have people standing over a spotlight right around the first row of the center section. That being said, I did TDF and was the second row on the side and did not feel like I missed anything. It is always better in that space to be straight on than on the sides in my opinion.

[themysteriousgrowl]

Posted: 11/6/14 at 4:45pm

Thanks, dave! I can handle a couple of moments being not ideal from the sides, I think, for the price difference, which was the reason I asked.

[2blocksfrombway]

Posted: 11/6/14 at 9:45pm

I would definitely choose center over the sides. So much of the show is directed straight out front and the lead actor sits on the edge of the stage facing the Center section on numerous occasions. I sat on the side and I felt that I was missing a great deal.
Hopefully by the time you see it the musicians will be playing in tune.

[themysteriousgrowl]

Posted: 11/7/14 at 7:48am

Thanks, 2blocks. What did you think of the show on the whole?

[CurtainsUpat8]

Posted: 11/7/14 at 8:12am

I've seen hundreds, if not thousands, of productions of musicals all over the country. I have never seen a production, outside of Mr. Doyle's, where the actors are also the orchestra. Where the actors play the score. Can someone give me other examples?

[themysteriousgrowl]

Posted: 11/7/14 at 8:26am

I guess you didn't see ONCE.