Unless you're showing up two days after one of them open, why not wait and see what the word is based on their Broadway versions, rather than their out of town tryouts?
I'd pick between Ferryman and Prom, both great in their own ways. But hard for us to decide if you want a 3-hour Irish drama or a fun, splashy comic musical.
Mike Barrett said: "Well these reviews have me more than sold. Going to try and purchase tickets today for the week of the Tony's."
Just a heads up, given all of the hoopla and build-up to the Tonys, the week before the awards often has a lot of callouts, although it may affect musicals more than plays, since when I went to a Hello Dolly/Great Comet doubleheader the day before the Tonys, and had a lot of callouts for both. YMMV.
roxannex said: "Also, I know that Be More Chill or Mean Girls might appeal to the 13 year old demographic, but I've heard Be More Chill is actually awful, and I don't think my son would like the whole "teen" comedy thing. He's not that into things like that."
Everything else in contention, with the possible exception of Beetlejuice? (I didn't see it), seems like a superior choice.
The Prom may be worth a look, as it seems to fit the fun musical category? Has some LGBT themes, and despite the high school setting/ensemble, it is the older actors who really own/steal the show.
Oklahoma isn't the big splashy revival version like MFL, but that may satisfy your desire for plays and her desire for musicals, since it is a darker read on the material?
Agree that Tootsie sounds like a good fit.
First Gary preview was last night, so I'd check that thr
GavestonPS said: "For the life of me, I never understand why "Well, he didn't molest me" is considered a reliable defense to a charge of molestation and/or rape."
Even stranger when the famous kids that hung out with Jackson (Culkin, Feldman, etc.) trot this out... why would it be a surprise that someone would potentially molest a bunch of unknown kids and avoid the famous ones? No one said he molested every single kid that ever set foot at Neverland...
Theaters have this weird thing where they don't like sitting vacant for months on end, so many shows jump into a theater when it is available. And if you don't take an available theater, another show will...
You could also use the reverse logic of yours, and say that if a show does open in the summer, after all the Tony losers are packing up their toys and going home, you're also the only new show available...
There could be a clause that another show would get that theater (which doesn't remotely mean such a clause would be exercised, only that it exists). There would never be a clause that the show had to close at that point.
It's not a conventional show, but good seating is rather conventional. Closer is better, centered is better.
But, by design, no seat will ensure you see everything without looking at screens, as that is impossible.
Similarly, no seat off to the side is truly partial view, as the screens ensure you see everything?
I think I ended up fourth or fifth row, on the center orchestra aisle, as I just waited until they downgraded premium seats to regular price about 5 hou
MollyJeanneMusic said: "I think the other thing to consider is, who's going to review Ain't Too Proud and Beetlejuice? Will that impact things the way Ben Brantley's review connection to BMC did?"
This assumes the reviews impact the nominating committee at all, and that otherwise awesome, universally beloved shows are getting unfairly dinged by nasty reviews. Neither of which seems to be true.
