Ambrose's singing was soft, especially early in the show. I think she was amplified more than the others. I strained a little to hear her in the beginning, and I was seated in the third row, center orchestra. Later in the show her voice was stronger. She hit the high notes very well. I enjoyed her performance, and would love to see the show again later in the run.
I had one of those seats -- last row, all the way to audience right. The pillar blocked some upstage action, but for $30 it wasn't a deal-killer for me. I was able to slide one seat to my left for Act I, since that person didn't show up, and then one more seat to my left when someone left at intermission. Still somewhat obstructed, but not bad. Warning, though: It's chilly in that part of the theatre. It was a cold day, and there was quite a draft com
It must be doing well, since I can no longer find discount codes. Any predictions for codes popping up in the next month or two? I have a Sunday night slot to fill during my next NYC trip, and this show would fit nicely.
I did not say I had seen Midler perform live. I have seen much of her film and television work, where, in my opinion, she has performed a wide variety of characters quite well. I had forgotten, also, that I had heard a recording of at least part of a concert performance many decades ago, so perhaps I have heard the persona even if I haven't seen it.
Nonetheless, I don't think one needs to see an actress perform in her own persona in order to judge whe
I have only seen Midler perform a few times, and never in the "Divine" persona, nor have I seen any other production of Dolly. But when I saw this production about 10 days ago it seemed to me that Midler was very much playing the Dolly character throughout. There weren't any flubs in the performance I saw, and I don't think there were any adlibs. Midler created a plausible character, and showed some fine comic chops. She play-acted at being worn out a few t
This is the first production I have ever seen of Pacific Overtures. Even with nothing to compare it to, I felt like something was missing. Curtain call felt like it should be merely intermission. I enjoyed what I saw, but there just wasn't enough there to be satisfying. I think that I would enjoy a more complete production, and I hope that someday I will see one.
I would love to see this from the front orchestra. I generally like to see shows up close. But how close is too close for this production? I don't want to be craning my neck all the time. But I would love to see Glenn Close's facial expressions up close.
Worth noting, 5 older patrons in my row, all who had discussed individually getting tickets via TDF, left at intermission in a hurry. To quote one of them, "This is lousy - terrible writing, why does everything always have to be gay and interracial?"
I would have expected TDF members, of any age, to be more enlightened.
FWIW, I was surrounded by older patrons at the Pels, and they loved the show. Most of them seemed to be straight couples.
I'm more familiar with Telecharge, where I can easily look for available tickets over a range of dates, and if there's nothing available for a particular date, TC just skips over it and takes me to the next date that has tickets available. How can I do this on Ticketmaster? It looks like I have to search one date at a time, even if there are no available tickets for that performance. And I don't want to see resale tickets, just those available directly from the b
I sat in L-109, and the mezzanine overhang did not obstruct anything. There is only one "upstairs" acting area on the set, and the overhang didn't even come close to obstructing my view of it. I liked the view from center orchestra. Wouldn't have minded being a few rows closer to the stage, but I was happy.