I pretty much echo what misheehan had to say. The show is fun. It will never be mistaken for Hamilton but it will likely have a pretty good run and make plenty of money even after the reviewers take their swings at it. The people who want to see it will leave with a smile. The serious theater people on this board who go looking to hate it will have their negative opinions validated and wonder why so many people are having a good time as they lament the downward spiral of quality theatre.
I had the good fortune to see the show at the La Jolla Playhouse before it went to Broadway. It really did seem special at the time. And it did not seem to need any work. I had never felt that way about any other local production. When I later saw the show on Broadway, I had a difficult time noticing any changes. It was just a fine show from the very beginning.
I had the good fortune to see both On Your Feet and Hamilton this last weekend. My expectation is that both will be big fat hits. They will appeal to different audiences, I suppose, although I loved both for different reasons. Gloria was at the Friday performance which was fun to see. OYF was far more entertaining than I expected it to be. It is fun, the book is just fine, and the show has a great deal of heart.
I thought Hamilton was a brilliant show which pretty much lives up to the h
I have always been fond of many of the songs by Bricusse and Newley from Stop the World I Want to Get Off and The Smell of the Greasepaint The Roar Of The Crowd. Gonna Build A Mountain and Feeling Good are special to me.
Being in San Diego, I always take a special interest in the shows which are fortunate enough to move from here to Broadway. If I remember correctly, Allegiance and Gentleman's Guide... played at the Globe the same season and they were both monster hits for the theater. I would not underestimate the following that Takei has on social media or the popularity of Lea Salonga. San Diego has a very large Asian population and they made their presence known. Broadway may be a different story
It won because it was the best new musical in 2006. I agree with Wilmington. The book is extremely well written. I saw the show in previews in La Jolla and then again a year later on Broadway. If there were changes made between the two efforts, I didn't notice them at all. It was simply right from the very beginning. True, it does not have an original score but it certainly raised the bar on jukebox musicals.
I am also in the minority here,(except with the public). I feel that the lyrics in Wicked are extraordinarily perceptive and almost impossibly cute. And in this case "cute" not only works, it created a generation of Broadway fans. I don't feel that they are lazy at all. The first time I heard The Wizard and I, I felt it fleshed out a character as well as any song I had ever heard. I agree with JoseLee about that song.
By the time of the Tony Awards, Hamilton will have been sold out almost 11 months and likely will have recouped. Hamilton will be established as a huge commercial success. I don't think that helps with Tony voters. If there is another very good or clever musical which needs recognition to flourish, the voters may give it the nod.
I haven't seen the show. It may be the best thing in years but a lot of great musicals have lost.
I am looking forward to seeing Hamilton in October. I don't know if The Hunchback of Notre Dame will be opening next year but it is very very good. It seems to me that a lot of musicals show up with little fan fair and win, ie, Gentleman's Guide, Once, Jersey Boys etc.
There Ain't Any Justice Dept. Mar 22
2015, 01:38:32 AM
I'm in the minority here and I don't care if Schwartz eviscerated the book. I love the score of Wicked. My feeling is that the song The Wizard and I fleshes out his lead as well as any song from any musical.
I think he created something special. And when I look at the body of work that is the music and lyrics of Wicked, I find them more clever, interesting, and beautiful than almost anything since.