I have been going to Broadway shows since I was four years old. Two of my most memorable moments was meeting and speaking with President Clinton (while he was still POTUS) at "Chicago" during the summer of 1999, and seeing the final performance that Yul Brynner ever gave as the King (it was a Sunday night benefit performance the night that revival closed.) The cast gathered and sang Auld Lang Sygne, and there was not a dry eye in the house.
Favorite musicals: Les Mis, A Little Night Music, Gypsy, Fiorello, Sunset Blvd., South Pacific, Carousel, The King and I, A Chorus Line, 1776, Miss Saigon, and others I can't even think of this minute.
Favorite plays: August:Osage County, Night Mother, Amadeus, Equs, and many more.
It's really too bad that the Times didn't re-review it. People who had no interest in seeing it in Battery Park and might not paid that much attention back then might have had their interest kindled by a NYT rave.
bwayphreak234 said: "I saw this last night, andI already said this in the first preview thread, but I just do not understand how this show has had four long out of town tryouts and is still so bad. If I hadn't known better, I would have assumed that the show was opening cold on Broadway. One thing is for sure though, Jersey Boys this ain't!"
It's been pretty clear for a while that you don't think much of this show which is fine. No criticism intended.
I disagree with the opinion of the poster above who saw it in DC and thought it bland. I also saw it in DC and thought it to be incredibly entertaining. The music was, of course, great as was the choreography. And it broke box office records at the Eisenhower Theater. But one’s opinion is one’s opinion.
Feb 22
2019, 12:57:30 PM
Samanthacq said: "Has anyone tried the Todaytix rush yet? How is the seat? I'm hoping to sit somewhere close to the stage so I can read the subtitles."
It's actually much easier to read the subtitles if you aren't too close. The best seats start in Row I (it's stadium seating, no mezzanine or balcony) and go up 5-6 rows from there. But even in the very last row, you shouldn't have any trouble reading the titles. If you're too close, you have t
“Today’s show started about 7 minutes late and let out at around 10:40 so it is getting tighter and shorter but honestly the time flew by.”
If you mean that the 8pm show started at 8:07, then it started precisely on time. Almost all Broadway shows start precisely seven minutes after their announced curtain time
The demand for tickets to see the show on tour must be incredible. The current Chicago run is (not surprisingly) completely sold out, but what is surprising is that they just announced a 12 week run starting in July of 2020. Yes. TWENTY TWENTY.
The tour has been getting rave reviews in each venue, so I'm assuming it's not a cast issue. And, as is now pretty evident, Ben Platt, as remarkable as he was, did not carry the Broadway run. So I'm left to assume that it was the size of the theater and the location of your tickets which led to your disappointment. It's understandable, especially if you were sitting close to the stage when you saw it in NY.
dramamama611 said: "No plans that I know of to tour. It likely would not work in a touring house, far too big. The best to hope for is a licensing opportunity snd a local company picks it up."
Actually, I have heard that they do plan to tour, eventually. Maybe a limited tour.
I saw the play this past Thursday night and agree with what appears to be the prevailing sentiment. Cranston delivers a breathtaking, riveting performance that makes him the favorite for the Tony, but the rest of the play is just meh. My feeling at the time and now is that the structure of the play would have been enhanced by dividing it into two acts rather than a one act two hour play. There is a natural break right at the end of Cranston's meltdown "I'm mad as hell and I'm
Wick3 said: "RaisedOnMusicals said: "The only week it was out of the low 50% if gross potential was Christmas week, and even then it did only 75% when moist shows were hitting 90%. Good/great reviews plus good word of mouth usually bring success, so what is it with this show?"
Personally I'm not a big fan of looking at solely gross potential percentages because it's really dependent on the producers' original pricing of seats (my understandin
RWPrincess said: "I have heard a few of the songs played on SiriusXM and I have not enjoyed them that much. I will probably end up seeing The Prom at some point but I have other shows I consider bigger priorities."
I agree with the assessment of the score. it's certainly not R&H, Lerner & Loewe or Pasek & Paul. I guess I'd describe it as serviceable, performed exceptionally well. But Beth Leavel does stop the show with this:
RippedMan said: "I saw The Prom tonight and it seemed pretty well sold for a random Tuesday in January. Lots of younger people, so I doubt lots of Premium Tickets, but I'd recommend it for the cast. The 4 "older" vets are really slaying it and Bob Martin's book is pretty hilarious. The music was eh and the story was pretty bland, but happy the message is getting out there."
I was there last night as well, and thought the show was thoroughly entertai
BrodyFosse123 said: "RaisedOnMusicals said: "Yentlfirst premiered at the Eugene O'Neill Theatre October 15, 1975 running for 223 performances under the direction of Robert Kalfin concluding October 23, 1975. It was produced by Cheryl Crawford, Moe Septee, and associate producer Paul B. Berkowsky. Scenic design by Karl Eigsti, costume designed by Carrie F. Robbins, lighting designed by William Mintzer, hair design by Patrick Moreton, general manager, Paul B. Berk
Yentl first premiered at the Eugene O'Neill Theatre October 15, 1975 running for 223 performances under the direction of Robert Kalfin concluding October 23, 1975. It was produced by Cheryl Crawford, Moe Septee, and associate producer Paul B. Berkowsky. Scenic design by Karl Eigsti, costume designed by Carrie F. Robbins, lighting designed by William Mintzer, hair design by Patrick Moreton, general manager, Paul B. Berkowsky, company manager Gino Giglio, production stage mana
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