I saw the show last night and I loved the entire cast, including Blanchard. It genuinely felt like she lives on skid row. She simply acted it out of the park, even in the songs. No-- her sound isn't the typical polished musical theatre sound, but I think that's part of what makes her performance incredibly interesting. Borle's characters completely shone and Groff was great (as we all knew he would be). I just loved seeing the show in an off-Broadway theatre. A great night.&
To me, this article cemented my commitment to taking every critical word with a massive grain of salt. I know the the NYTimes is still important in the industry... but the fact that they don't invite more voices into these critical conversation in 2019 is just baffling. Give me Sara Holdren any day, folks. Why wasn't this a conversation between more people?
I felt the opposite with regards to Burn This. That play and those performances haven't stuck with me the way Frankie and Johnny has. The elegance of Arin Arbus' production tied to the impeccably grounded performances of Audra and Michael Shannon tied to McNally's words made me walk the long way home after seeing it. It felt like there was so much to unpack and to get swept up in. It made me think about how beautiful it is to connect with other people and how rarely it truly
Thanks for the thoughtful response, Ledaero! You got me even more excited to see it. :) I've been following Annie Tippe's work for a while now and love it. I wasn't the BIGGEST Great Comet fan, but I'm fascinated by the themes Malloy is exploring and can't wait to dig in more.
May 9
2019, 12:16:14 PM
"Is much of the beginning really him just running around naked as she is telling him to leave? That... doesn’t seem like it would age well at all for our current times. Anyone care to elaborate?"
I was lucky enough to see the show on Tuesday evening. It isn't what you describe at all. The production is presenting a nuanced and timely conversation about what it means to connect. Of course we look at it through the lens of our current moment, and this moment we're
Everyone I know who saw it in London said it felt more like a show for tweens or the theme park audience. Hopefully they make some changes on the next stops.
I totally agree with the original post and I think it goes well beyond the recent reviews that talk down to teen girls. It is a systemic issue with how women are perceived and until there's a change in the disappointing lack of representation in critic positions, I don't think this will be fixed. Perhaps another reason that critics are becoming somewhat obsolete to general ticket buyers?
I totally disagree that putting the first encounter between the Dowager and Anya offstage is a mistake. First, by putting that scene offstage, it makes the actual reunion scene the most important one in the show. When I saw it in Hartford, I recall being really taken with the writing in that moment. I was so glad the team committed to keeping it a book scene. The acting that Mary Beth Peil and Christy brought to it was gorgeous. Can't wait to see what they'
From what I've listened to I think Journey to the Past, Rumor in St. Petersburg, Derek Klena's new song -- I think it's called My Petersburg (?) -- are totally hummable. Though, I don't think "hits" are the marker of a great musical or even a great score. It's how the songs work together to tell the story that matters... and I know Ahrens, Flaherty and McNally know how to tell a damn good story.
"To be it almost seems a bit conventional to have Karl. We could have had a quirky character man leasing role, and instead they gave the part to a handsome leading man. That already turns me off from the show. Like, oh, we need him to be conventionally handsome for us to care about him?!"
Yeah... I mean, I'm excited to see the show based on what I hear from London, but to be quite honest, it doesn't feel like a moment in history for another handsome, cis
"Somewhat off-topic... but I just re-watched Groundhog Day (the movie) last night. Damn, what a fine film! I really want this musical to succeed. I think it would be great if there were several successes this season, and not the typical year of 1-2 successes and a whole bunch of failures..."
Do you think that Phil's charm comes from Bill Murray's quirky / befuddled air? I don't get that same vibe from Andy Karl and curious how the chara
Seeing it Friday and really excited. Dave Malloy is on fire and Elena Heyman (the director) has done some really visceral, exciting work. More to come!
Sidenote, but related -- Have you guys seen Robert Sean Leonard's bio in the Sunday in the Park... playbill?
"ROBERT SEAN LEONARD (Jules / Bob). After I saw the original production of the musical I went directly to Colony Records, purchased the tape, and then wore it out in my Walkman. I am deeply honored to be here. Oh how I wish you too would (and could) stop at Colony on your way home tonight."
I know I get excited to see Broadway folk on a national platform any time it happens... I think it's the fact that, although a national "brand," we Broadway folk are a tight community. Maybe this is because you have to experience Broadway in NYC or on tour... it remains feels "special" to see it in the spotlight.
Totally agree, HogansHero. Also that worth screaming about is the fact that they are three fierce women of color. Though I *did* hope they were appear during the halftime show in full out costume with Gaga in Hamilton drag.
