LEMPICKA Reviews- Page 7

[TaffyDavenport]

Posted: 4/16/24 at 1:09am

I miss it desperately...

[Jordan Catalano]

Posted: 4/16/24 at 1:16am

It was just one of the best times ever at the theater. 

[inception]

Posted: 4/16/24 at 1:38am

Jordan Catalano said:
I highly recommend to anyone feeling angry over the big mean critics being big mean to the show, to just google “bad Broadway reviews” or something like that and read what a TRUE scathing review sounds like. They ain’t hard to find."

Imagine if all these reviews had been read out on the 11 o''clock news.

 

[EDSOSLO858]

Posted: 4/16/24 at 1:53am

TaffyDavenport said: "Dianagot much worse reviews, andI think it was significantly more entertainingthan Lempicka."

I honestly loved both shows — seems like I have an affinity towards megaflops with pulsating pop-rock scores! It’s over a month away at this point but the Lempicka cast album can’t come soon enough. 

[bear88]

Posted: 4/16/24 at 5:12am

I haven’t seen Lempicka, but Sara Holdren’s review was thoughtful and seemed pretty fair to me. I was glancing at Frank Rich’s reviews of Stephen Sondheim’s shows when he was the New York Times’ lead critic. Aside from describing the original Merrily as a ‘shambles’ - in the first paragraph, no less - he was disappointed with Into The Woods and Assassins too. The only raves were for Sunday in the Park With George and a Sweeney Todd revival.

Perhaps this is why Sondheim disdained critics, even those he befriended.

Lempicka, as others have noted, is the sort of original musical that’s aimed at critics. I was very curious about it, especially because the show features one of my favorite actresses, Amber Iman, and is directed by Rachel Chavkin, whose previous Broadway musicals I thoroughly enjoyed.

If this one didn’t work, it is the critic’s job to say so. If the creatives want to try to fix the show, as Sondheim did with Merrily, along with a little help, nothing is stopping them from trying.

[OhHiii]

Posted: 4/16/24 at 5:51am

bear88 said: "nothing is stopping them from trying."

well except the $20+ million they’ve already wrung dry over the course of the better part of a decade. 

 

[dramamama611]

Posted: 4/16/24 at 7:43am

It costs nothing for the originators of the work to re-write anything. (I'm talking after this production, not during. Although.....) Getting it produced on Broadway is what cost $. There ARE other paths to finding out if a revamped piece works. 

Updated On: 4/16/24 at 07:43 AM

[ErmengardeStopSniveling]

Posted: 4/16/24 at 11:48am

These might not even be the worst reviews of the month. THE WIZ opens tomorrow and HEART OF ROCK & ROLL opens next Monday.

[BroadwayBen]

Posted: 4/16/24 at 12:58pm

I don't think that most audiences care much about critics think.  They primarily trust word of mouth from their friends.   I thought Lempicka was ambitious and interesting, but I can't really recommend it to most of my friends.   A few who like this sort of ambition I've told, but most are looking for a more emotional experience. 

[binau]

Posted: 4/16/24 at 2:24pm

Sorry to be one of those people, but I couldn't help myself and 'hear' about some of the music - at least from La Jolla. Eden sounded a little off pitch in 'Woman Is" all the way back then! However, I'm struck just at how beautiful some of the music is. "I Will Paint her", "Woman Is", "In The Blasted California Sun". I don't think these are just average songs, and Eden's beautiful low vocals wraping throughout are so nice and unusual. The music is so odd it kind of feels like crossing "Grey Gardens" type music with Britney Spears inspired pop lol. I'd kill to be able to see this show live right now. 

Updated On: 4/16/24 at 02:24 PM

[Auggie27]

Posted: 4/16/24 at 3:14pm

Forget the flops, go back and read the reviews of Evita. Just the two NY Times critics, opening night and Sunday. I moved to NYC that autumn of 1979 (saw very first preview, 9/10/79; wall, row N of the mezzanine) and still remember how negative they were. In many ways, they were eerily like these: finding fault with how history is characterized, how many scenes are presentational/narrative (Walter Kerr insisted Che’s overuse for exposition dumps and thus unreliability strips drama, a structural decision distancing audiences), and even the repetitive nature of the score. These reviews are no more dismissive, or brutal, and as analytical.

Updated On: 4/16/24 at 03:14 PM

[QueenAlice]

Posted: 4/16/24 at 3:48pm

Evita on Broadway did not get steller reviews but it caught on immediately with the public's fascination (fueled partly by its evocative televsion commercial).  Evita's Broaday trajectory has more in common with something like Wicked then Lempicka, which has not caught on with audiences.

[ErmengardeStopSniveling]

Posted: 4/16/24 at 4:13pm

BroadwayBen said: "I don't think that most audiences care much about critics think. They primarily trust word of mouth from their friends. I thought Lempicka was ambitious and interesting, but I can't really recommend it to most of my friends. A few who like this sort of ambition I've told, but most are looking for a more emotional experience."

Critical response is a way for people to learn about a show and can be an important seal of approval for those on the fence. It's not the ONLY way to drive sales –– and even with some critically-lauded shows like Purlie and Strange Loop, it doesn't move the needle in a meaningful-enough way –– but it is still a way to make people pay attention.

Critical response can also translate into Tony nominations/wins, and data tells us that winning Best Musical is one of the best ways to get people into your theater (except for anomalies like Strange Loop above).

Data also tells us that an esoteric, no-brand-name show (like Lempicka) that gets poor reviews after selling badly in previews is going to have virtually no chance of recoupment.

So it's all connected.

Updated On: 4/16/24 at 04:13 PM

[Jordan Catalano]

Posted: 4/16/24 at 4:38pm

And a lot of people are beginning to really put no stock into reviews from TikTokers and the such since they're basically always raves and "You must go see this OMG it's the best thing ever". Actual critics and really, a lot of users on this board, are still some of the best ways of hearing honest reactions about shows (whether people like it or not).

[Kad]

Posted: 4/16/24 at 5:05pm

Well, influencers are enthusiastic boosters at best and  basically shills at worst. They’re courted with free tickets, special events, opening nights, and access to the stars- they’re incentivized to be positive, and many have built brands around that. But it’s not a sustainable trick for marketing purposes. 

[Jordan Catalano]

Posted: 4/16/24 at 5:08pm

Exactly. I just meant I think people are just starting to really figure out that’s what they’re doing and not actually “reviewing” shows. 

[MsPiety&Rectitude]

Posted: 4/16/24 at 5:24pm

binau said: "Sorry to be one of those people, but I couldn't help myself and 'hear' about some of the music - at least from La Jolla. Eden sounded a little off pitch in 'Woman Is" all the way back then! However, I'm struck just at how beautiful some of the music is. "I Will Paint her", "Woman Is", "In The Blasted California Sun". I don't think these are just average songs, and Eden's beautiful low vocals wraping throughout are so nice and unusual. The music is so odd it kind of feels like crossing "Grey Gardens" type music with Britney Spears inspired pop lol. I'd kill to be able to see this show live right now."

I second this. And love the comparison to a cross between Grey Gardens/Britney Spears. When I see people calling the music mediocre, lacking melody, all sounding the same, I feel like we must have watched two different shows. Besides "Woman Is," songs like "The Most Beautiful Bracelet," "Pari Will Always Be Pari," "I Can See What She Sees" and others are not average or mediocre. I think that the book and lyrics have problems, but I wish that Matt Gould's music was getting the praise that I think it deserves. I find it sophisticated, exciting, emotional... and a lot more unique than we've heard from other recent original scores like The Notebook, Shucked, Suffs, Gatsby, How to Dance..., etc.

Updated On: 4/18/24 at 05:24 PM

[KevinKlawitter]

Posted: 4/16/24 at 6:22pm

gotta appreciate the chutzpah

[TheatreFan4]

Posted: 4/16/24 at 6:30pm

Well that's one way to spin the marketing...

[Jordan Catalano]

Posted: 4/16/24 at 6:31pm

And how many years ago is that Brantley quote from?

[BorisTomashevsky]

Posted: 4/16/24 at 6:31pm

Took them two days to agree to this approach? Must have been much screaming involved. And even then I can’t see the writers agreeing to this. 

[MemorableUserName]

Posted: 4/16/24 at 6:46pm

Jordan Catalano said: "And how many years ago is that Brantley quote from?"

And where is it from? In his Williamstown review he does refer to Gould's "often stirring, richly polyphonic music" but "blockbuster" is only used in reference to Evita ("Full points if you answered “Evita.” That’s the late-1970s blockbuster about Eva Perón," ). He doesn't say "a stirring blockbuster" anywhere, and a Google search didn't come up with a quote with that term either.

Updated On: 4/16/24 at 06:46 PM

[Kad]

Posted: 4/16/24 at 6:49pm

Yeah, I was also looking at his review of the Williamstown production - which was quite encouraging and positive, but did not use that phrase. Frankly, it would probably be better if they did not draw attention to that review, as it just seems to document a show that lost its way over the course of 6 years.  

[BorisTomashevsky]

Posted: 4/16/24 at 6:50pm

I have secondhand embarrassment over this. It won’t help them sell more tickets. They must know that…

[Jordan Catalano]

Posted: 4/16/24 at 6:52pm

Like a restaurant using two yelp reviews on their sign. One saying the food is great and the other saying the fish gave them diarrhea. “Decide for yourself!”