WATER FOR ELEPHANTS Opening Night Critics' Reviews- Page 4

[OhHiii]

Posted: 3/22/24 at 8:51am

Reviews in general don’t do much for shows that are already struggling. Some Like It Hot got glowing reviews and ran at a loss for almost the entirety of its run. They’ll have a week or two of bumped up grosses and then they’ll start to slip again. Critics reviews HAVE to come with effusive word of mouth for shows to stand a chance. 

Also, in a season where there’s nothing (save for maybe Illinoise) that really has any sort of heat on it, more mediocre shows look a lot better by comparison. 

And I think we can all agree that Jesse Green is far from the critic he thinks he is. Losing Brantley was truly one of the worst losses for the industry. And you can tell it was a result of Green trying to “swing it around” (pardon the expression) when he got to the Times (I fully believe that disgraceful King Kong conversation was his brainchild back in the day). His reviews at NY Mag were much more respectable. 

[BrodyFosse123]

Posted: 3/22/24 at 8:59am

BETTY22 said: "We are about to see the real power of the NYT.

Once, I review like this would be gold $$$$$$$$$$$$"

April 20, 2001 - the morning after Mel Brooks’ THE PRODUCERS opened on Broadway receiving raves from NYT and others. The line of ticket buyers started forming around midnight and went east and around the block. The insanity continued even long after Lane and Broderick left the show. This musical was the show that created the Premium Seat option still in use today after the producers saw that people had no qualms paying ticket brokers $1,400 for standard $99 orchestra seats. 

[Wick3]

Posted: 3/22/24 at 9:03am

Power of NYT review versus word of mouth.

From reading the previews forum, I thought maybe Water 4 Elephants may not survive Tony season but given the reviews it may last through the summer.

i do wonder if this musical opened during the same season as Pippin back 9-10 years ago whether it would receive the same raves. 

[HenryTDobson]

Posted: 3/22/24 at 9:06am

I'm glad they survived the reviews much better than expected. I still expect a similar run to last year's production of New York, New York. 

[ErmengardeStopSniveling]

Posted: 3/22/24 at 9:20am

Wick3 said: "i do wonder if this musical opened during the same season as Pippin back 9-10 years ago whether it would receive the same raves."

I mean, you really can't look at things that way. Shows are a product of the time that they open. Sure critics and audiences might have made comparisons –– that's what criticism is. Brantley even said that had Bridges of Madison County opened later in its season he probably would have given it a more positive review since the rest of that season was so weak.

[chrishuyen]

Posted: 3/22/24 at 11:09am

To be fair, I think word of mouth from "casual theater goers" (ie people not on these boards) would be generally positive for this show, and combined with the critic's pick could be enough for it to stay afloat for a bit.  I'd certainly be interested in seeing its trajectory the next few months.

[dramamama611]

Posted: 3/22/24 at 1:34pm

Yes, I have to agree, chrishuyen.  I enjoyed the show, and wouldn't try to dissuade anyone from seeing it, but I didn't LOVE it.   However, the audience seemed to be totally in love with the show and I think that will translate a lot to: you've got to see this.

 

Again, I'm surprised the reviews were AS glowing as they were - not that I thought/hped it would get trashed.  Good for them!  I hope they have a decent run, it will bring joy to many.   Will I return?  Not likely, but perfectly happy I enjoyed.

[RippedMan]

Posted: 3/22/24 at 1:58pm

Maybe the reviews were glowing because the critics had just sat through The Notebook? I’ve seen all the promotional materials for the show and I still don’t feel enticed to see this. 

[dramamama611]

Posted: 3/22/24 at 2:20pm

Lol, certainly the order I saw them in!

[hork]

Posted: 3/22/24 at 3:05pm

It is a fascinating face-off: a musical written by men based on a popular romance novel written by a woman versus a musical written by women based on a popular romance novel written by a man. It’ll be interesting to see which one comes out on top. 

[PipingHotPiccolo]

Posted: 3/22/24 at 7:05pm

dramamama611 said: "Yes, I have to agree, chrishuyen. I enjoyed the show, and wouldn't try to dissuade anyone from seeing it, but I didn't LOVE it. However, the audience seemed to be totally in love with the show and I think that will translate a lot to: you've got to see this.
"

I was surprised how much I liked the Notebook because i expected it to be just plain sappy nonsense, and i was surprised how much i liked W4E bec everyone here told me it was horrible and comically amateur. But the Notebook was certainly more polished and had better performances, score etc. And part of our experience at the theater is who we see it with, so in that regard dramamama and i had opposite experiences, because the sheer joy/weeping/enthusiasm that surrounded me at the Notebook lifted the experience for me, while at W4E the response was tepid. 

[inlovewithjerryherman]

Posted: 3/22/24 at 8:34pm

PipingHotPiccolo said: "I was surprised how much I liked the Notebook because i expected it to be just plain sappy nonsense, and i was surprised how much i liked W4E bec everyone here told me it was horrible and comically amateur. But the Notebook was certainly more polished and had better performances, score etc. And part of our experience at the theater is who we see it with, so in that regard dramamama and i had opposite experiences, because the sheer joy/weeping/enthusiasm that surrounded me at the Notebook lifted the experience for me, while at W4E the response was tepid."

I think the fact of the matter here is that ALL of these shows have major strengths and major weaknesses and it's honestly anyone's guess what people will spend money on these days.

Even given the tepid reviews, in my opinion, THE NOTEBOOK stands a stronger chance than either WFE or THE OUTSIDERS. Even though the critics (and many on this board) did not like it does not indicate a lack of mass appeal. 

All said I'm pleased to see the positive word of mouth for WFE and for TO and I look forward to seeing both.

[BJR]

Posted: 3/23/24 at 9:04am

Wick3 said: "Power of NYT review versus word of mouth.

From reading the previews forum, I thought maybe Water 4 Elephants may not survive Tony season but given the reviews it may last through the summer.

i do wonder if this musical opened during the same season as Pippin back 9-10 years ago whether it would receive the same raves."

It would be buried. It was so obvious (and bizarre) the critics were pleased getting to watch fun tricks.

[Cory Schimmoelelr]

Posted: 3/24/24 at 1:05am

Has anyone here sat in the first few rows "ringside" seats? What were they like.

[Scarlet Leigh]

Posted: 3/24/24 at 1:56am

chrishuyen said: "To be fair, I think word of mouth from "casual theater goers" (ie people not on these boards) would be generally positive for this show, and combined with the critic's pick could be enough for it to stay afloat for a bit. I'd certainly be interested in seeing its trajectory the next few months."

I'm not so sure about that. I saw the show a week and a half ago. At least 4 people in my area left at intermission never to return and I watched at least another 3 get up and walk out in the middle of the second act. Most I have ever seen people leave a show mid show. I don't really think the people in my area were likely ones hanging on message boards and tiktok but the area seemed to be kicking up conversation with one another and the word going though most of the area was "it's okay" at intermission and after the show much of the same. Even in the bathroom and the upper lobby area people didn't seem to care about waiting until after they were at LEAST outside the theatre to make their indifference to the show known. I have never left a show feeling the vibes of "meh" so strong from everyone around me. And then at my second show that evening, stuck up a conversation with the folks beside me that had seen it the night before and again much of the same. 

And with the rumored running cost on this one being high, these reviews will likely help it survive to nominations but then it needs to score big on them to make it to Tony night and then it will need to win big on the night itself to bring it's grosses up and out of the red.

[QueenTwinnied]

Posted: 3/24/24 at 4:18am

Cory Schimmoelelr said: "Has anyone here sat in the first few rows "ringside" seats? What were they like."

I sat front row during the Atlanta run (so maybe not a fair comparison idk) and loved it. Being so close to the acrobatics was thrilling and I don’t feel like I missed anything. 

[BETTY22]

Posted: 3/24/24 at 8:54am

Scarlet Leigh said: "chrishuyen said: "At least 4 people in my area left at intermission never to return and I watched at least another 3 get up and walk out in the middle of the second act. Most I have ever seen people leave a show mid show."

Is this a new thing post pandemic - I have never seen so many people leave at intermission during previews. Almost, every single new musical I have seen this season I have witnessed folks leaving. I'm sure it freaks producers out - but it might just be the new normal. 

 

[Dreamboy3]

Posted: 3/24/24 at 9:18am

Scarlet Leigh said: "chrishuyen said: "To be fair, I think word of mouth from "casual theater goers" (ie people not on these boards) would be generally positive for this show, and combined with the critic's pick could be enough for it to stay afloat for a bit. I'd certainly be interested in seeing its trajectory the next few months."

I'm not so sure about that. I saw the show a week and a half ago. At least 4 people in my area left at intermission never to return and I watched at least another 3 get up and walk out in the middle of the second act. Most I have ever seen people leave a show mid show. I don't really think the people in my area were likely ones hanging on message boards and tiktok but the area seemed to be kicking up conversation with one another and the word going though most of the area was "it's okay" at intermission and after the show much of the same. Even in the bathroom and the upper lobby area people didn't seem to care about waiting until after they were at LEAST outside the theatre to make their indifference to the show known. I have never left a show feeling the vibes of "meh" so strong from everyone around me. And then at my second show that evening, stuck up a conversation with the folks beside me that had seen it the night before and again much of the same.

And with the rumored running cost on this one being high, these reviews will likely help it survive to nominations but then it needs to score big on them to make it to Tony night and then it will need to win big on the night itself to bring it's grosses up and out of the red."

I saw this Friday night. I didn’t see anyone walk out. In fact there were lots of oohs and aahs throughout the show. I went in with modest expectations. But I really enjoyed this. Great staging and a few really great performances. I loved the book-the flash forwards/ flash backs worked really well for me and I became very emotionally engaged. I doubt I will listen to the score again although I thought there were a few beautiful melodies.  It’s not a great musical and I doubt it would work well without the circus aspects. But I will definitely be recommending this to friends and based on the audience reaction when I saw it I’d guess that WOM will be very strong. 

[dramamama611]

Posted: 3/24/24 at 11:59am

Cory Schimmoelelr said: "Has anyone here sat in the first few rows "ringside" seats? What were they like."

I did.  I chose house right, SECOND row,  first seat on the aisle.  (A2, I believe)

I think the first row is probably too close....especially at center, but the sides have a little more distance.   I thought it was pretty terrific, and I was worried about being too close.  You are looking up, but not uncomfortable so (for me) .  Hourse right is a tad special because of one circus stunt.

 

IF I went again, alone (as I did this week) I think I'd sit further back or in the mezz for a more full effect.  BUT if I was going with someone else, I sit in the same seats for them!

Updated On: 3/24/24 at 11:59 AM

[gibsons2]

Posted: 3/24/24 at 12:59pm

Those who rushed, are all rush tickets in the rear mezzanine?

[MemorableUserName]

Posted: 4/8/24 at 8:27pm

Finally saw this. It was fine, nothing I regret seeing, but nothing I'll remember either. The best parts were the direction and the acrobatics. The ensemble was great and engaging to watch. I could have watched a full show of them, because the story wasn't great and the music was serviceable but forgettable. I couldn't tell you what any of the songs sounded like as soon as they were over, and certainly not now. The love triangle needed to be passionate and emotional and romantic, but it felt perfunctory. The Notebook fell short in many ways, but it did make me cry. This was better in most respects, but I felt nothing during the whole thing, except appreciation for the circus acts.

I did find the older Jacob supremely annoying and wished he would go away. Edelman's constant mugging and goofy grinning grew old fast. I kept thinking how sad it was that the younger Jacob grew up to be so insufferably twee.

I also didn't get the point of double-casting McCalla and Nolan as their main characters and the separate modern-day characters. Some of the transitions were pointlessly awkward, like the final one between what happens to August and then Nolan still being there onstage as someone else.

Of the principals, Nolan was the standout, though I had no complaints about Gustin (who I've never seen in anything and was unfamiliar with) or McCalla. The weaknesses were entirely due to the book and score.

[KarenValentine'sheadband]

Posted: 4/11/24 at 10:19pm

Seeing this and the Notebook this weekend. Fingers crossed. 

[BETTY22]

Posted: 4/12/24 at 1:53pm

Production (A+++): The production elements, including staging, design, and overall presentation, left a strong positive impression. It seems like the visual and technical aspects of the show were exceptional and contributed significantly to your enjoyment. This director is THE REAL DEAL.

Performances (B): The cast's performances were another highlight for me. The actors delivered compelling and memorable portrayals that enhanced the storytelling.

Music and Lyrics (D): I found the songs lacking in the traditional show tune quality that you expect from musical theater. The music and lyrics did not leave a lasting impact compared to other aspects of the production.

 

Overall, despite mixed feelings about the music and lyrics, I found the show to be a worthwhile experience, especially for those interested in stagecraft and visually stunning productions. 

[Jonathan Cohen]

Posted: 4/14/24 at 1:30am

gibsons2 said: "Those who rushed, are all rushtickets in the rear mezzanine?"

I didn't do rush, but I saw the show tonight via winning the lottery and my seat was in the second to last row of the rear mezzanine.   

Because so much of the show is in the air, I think front mezzanine is probably some of the best seats in the house. But way in the back, the actor's faces were a little too blurry and a couple of times I was having trouble clocking who on stage was talking/singing.

[kdogg36]

Posted: 4/14/24 at 1:27pm

BETTY22 said: "I found the songs lacking in the traditional show tune quality that you expect from musical theater."

As these things often go with opinions, it's this very aspect of the score that I found so satisfying. I thought the songs served the story very well without sounding anything like a typical contemporary Broadway score, from the thumping insistence of "Anywhere" to the lovely but stark "Easy."

I especially appreciated that the composers knew how to end a song - even a passionate or emotional one - without having the singer deliver one of their top notes at maximum volume. (To be clear, there's nothing wrong with ending a song that way, either. It's just become such a default in new musical theater scores that, to me, it only serves to show off the singer's skill rather than expressing anything relevant to the character or story.)