You definitely have the right to be upset. After paying for a ticket, you're entitled to the full experience of the show. Ushers see a show so many times that they can forget that it's a special, one-time experience for each new audience. I'd even say you showed restraint by approaching them to complain during the second act. I would have been far less tolerant of anyone ruining the experience, and would have spoken to whoever their supervisor is. It's totally unpro
Cabaret - Miss Piggy as Sally Bowles, Kermit as Cliff, Fozzy Bear as The Emcee and just wait until you hear Animal's rendition of "Tomorrow Belongs to Me"
I just hope this film is put on hold long enough for them to get a competent director on board. Jon Chu has an abysmal filmography. Film versions of musicals need auteurs behind the wheel, not bland studio cronies. Give me someone with some controversy. Spike Lee, Cuarón, anyone but Chu.
LesWickedly said: "Going to try my best to get tickets. Would love to hear my reports! Anyone sat on the cushioned seats (floor)?"
I was at the show on Friday night and I absolutely loved it. I had floor seats (on a cushion) and though the plot of the show is hard to fully grasp on the first listen (and viewing), that didn't detract in the slightest from my enjoyment. The score is beautiful and moving, the show is interesting and varied
Wayman_Wong said: "Sorry, UrNotAMachine, but you're not alone. Many years ago, Michael Arden (now better known as the Tony-nominated director of the ''Spring Awakening'' revival) was working on a musical of ''The Talented Mr. Ripley,'' but sadly, couldn't get the rights. Arden even sang one of his wonderful songs in his cabaret act back then.
Welp... Seeing as I've written about 8 songs for a musical based on The Talented Mr. Ripley (with obviously no intention of it ever being produced) this news is bittersweet for me. I guess at minimum it means I had an appealing idea... Sigh.
JudyDenmark said: "I've come around a LOT on Great Comet as a show, but I can't remember the last time I hated a score so much. There are moments that I really like (most of the Prologue, No One Else, the choral parts of Dust & Ashes and Great Comet of 1812) but for the most part I find the whole thing really grating, not to mention wildly inconsistent. "The Private and Intimate Life of the House" is literally painful.
Clearly this generation is not as inventive with original ideas as the previous one.
It has nothing to do with how inventive this generation is (there are thousands of examples I could point to you that vouch for its creativity and passion.) It has everything to do with Disney figuring out the formula for printing money. It involves capitalizing on nostalgia for profit and it works unbelievably well.
It'd be insanely tricky, but I'd love a great film version of COMPANY. I've actually thought a lot about how it could be done. It would have to be an independent film from an auteur director, though. Anyone trying to slap a plot onto it or impose a typical hollywood structure would ruin the material. It has to be both cinematic and follow the loose structure of the show. If done right it could be amazing, if done wrong it would be an absolute train-wreck.
So this show didn't really work for me. I don't have many new points to add as Whizzer pretty much summed up my thoughts perfectly. The costumes are breathtaking and there are some very good moments sprinkled throughout the show, but the book is the show's major weakness. The pacing is very slow, there are little to no surprises and it just felt very clunky. I applaud the decision to create a new villain for the stage, but Gleb is just an incredibly ineffective part of the sh
I was at the invited dress rehearsal last night, but I think it's rather uncouth to give my opinion of a show before previews have even started. I will say, however, that the show looks very beautiful. This is also the first iteration I've seen of it, so I'm not sure what differences there are between the Hartford and the Broadway productions.
wonkit said: "I love Santino, too. I saw him in EARNEST (in which he stole every scene), CINDERELLA, and ZORBA but the performance that blew me away was as John Adams in 1776. I thought he wasn't ideally cast - perhaps a bit too young or likable? - but he was excellent throughout. I'm not sure about Bobby in COMPANY (again, too likable?) but definitely The Baker, and , in a few years, George in SITPWG.
Mike66 said: "I definitely enjoyed On Your Feet much more than Comet.
The attraction of Comet is totally lost on me -- it's all style over substance, and I didn't even care for the style. Other than getting a $200 plastic egg, it was a waste of a few hours.
I don't know how anyone can say that show all style and no substance. For a very long time, all I knew of it was the cast recording and it was the substance of the
