ljay889 said: "The brand new choreography and orchestrations will be a major change. Right now, Tunick and Gemignani’s involvement is the only saving grace for me."
Ummm..excuse me? new Orchestrations??? Yeesh, I was already trepidatious about this revival. Are they trying to pull an OKLAHOMA! on this, musically speaking?
Tunick and Gemignani are geniuses (and I always have full faith in them), but why was it even a discussion to touch a
Well, that seems like it would take the excitement out of the music.
You cast a show around performers who can handle the music, not the other way around"
Strangely enough, the lowered keys were only for the muses' songs when they definitely didn't need it. I mean, Ramona Keller is one of the fiercest beltresses I know of (I'm looking at you, Caroline, Or Change cast recording), s
LizzieCurry said: "Is the Hadestown joke still in the show?"
Yup! And it fits right in. The whole evening is very silly so it works.
Really such a joyous and fun show. The song tempos were much slower than the film (not to mention keys were lowered) so that threw me off a bit, but otherwise had an absolute blast. It's not perfect by any means, but it accomplishes exactly what it set out to do.
Jordan Catalano said: "I thought the orchestra sounded great in London."
I'm listening to the London recording and the orchestra sounds so...tinny? Small? lacking energy? Can't put my finger on it. Maybe it's just how it was recorded. I'm so used to the BOOM, brass and thrusting percussion of the original. I'll wait to hear it in person to fully judge.
Eva Noblezada in HADESTOWN Aug 25
2019, 09:50:23 AM
I’ve seen the show twice with Patrick (off and on broadway) and once with T. Oliver Reid.
When Patrick is out, everything is mostly sung an octave higher. T. Oliver Reid played it more sly, cool, slick oily salesman whereas Patrick is just this booming, creepy presence that draws you in but also scares you. Both interpretations work within the story, but you definitely miss the basso profundo he has when he’s out.
MollyJeanneMusic said: "So excited for Harry Hadden-Paton! I got to see him in My Fair Lady, and he was excellent. And I love Carmen from the Bright Star soundtrack. With all these announcements, you gotta imagine Company will have to announce soon. Also, if this is nominated for Best Musical, would it be the first Vivian Beaumont musical since Contact?"
I LOVE how out of nowhere this is. Even if the show winds up being a miss or uneven at best, I'm thrilled there's going to be an original piece with an original score this year.
YvanEhtNioj said: "Not bad at all for Moulin Rouge, but Ithought it's be way above 100% gross"
Last week had opening night for them which means multiple comps for a huge chunk of the theatre. That fills the seats but will bring the % of Gross Potential down.
Les miserdead Jul 14
2019, 11:56:40 AM
I’m one of the few people who enjoys the new production over the original. I first saw it on broadway in 2003 a few months before the original run closed. While the cast was fantastic, the show was so dark (physically), bare, and just felt lethargic and creaky. I definitely enjoy the music on a very guilty pleasure level, but it’s always been an overly sappy, unclear, spark notes version of the original novel to me.
The new production at least felt like a (brighter) large spectacle
Daniel M said: "I saw Hadestown in previews and again last night. During the previews performance, at the very end, Orpheus walked up several steps after the landing before turning around. Last night, he only walked up on the landing and didn't go up the second staircase. I think there is a difference in dramatic impact depending on how close he gets to the exit and am curious if Reeve/Orpheus gets to choose at each performance when the turn is or if there's a set point.
VotePeron said: "Hadestown winning scenic design, after there was no doubt in anyone's mind that Beetlejuice would win...sounds like a sweep is a'coming..."
Was thinking that. Or, the voters just really didn’t like beetlejuice
QueenAlice said: "It has become SUCH a ploy though to announce a national tour in tandem with Tony voting. Half the time the tours never manifest, and I think the roadie Tony block has become hip to that. And I still think if it were to tour this would be a very 'limited' tour. I can not imagine this production of OKLAHOMA playing well in a lot of markets. KISS ME KATE would likely tour better."
Yea, most touring markets outside of the big theatre cities are
Tony voting Jun 2
2019, 08:54:36 AM
My former boss was a Tony voter. He had tickets scheduled for A Gentleman’s Guide one evening when Jefferson Mays suddenly called out. We received a call from Joey parnes’s office (the general manager) stating that he was out and that it was strongly recommended that the tickets be switched for another performance, though he was welcome to see the show if it was his only option.
I’m not horribly concerned about dropping from 10 to 7 musicians, but I *am* concerned that directors are starting to cast belters in legit soprano roles as of late.
I do love Jenna Russell, though. Terrific performer.
