I have already posted earlier about how I enjoyed this show and their is a preview review thread for that (with spirited debate) but I still think it was a special performance by Renee Fleming. This news piece perfectly conveys the joy in watching this great performer try her hand at something new and fun, so thought I'd share of those who didn't see it.
I can't see this getting good reviews. My friend and I had free tickets and neither of us laughed and were looking forward to intermission so we could get out of dodge and quick too.
However, in Fleming's defense, she's doing a good job with the subpar material she's having to work with. Sad to say she's not as big a draw as she used to be both here on Broadway and in the opera world ( and Philly, if you're going to get on your high horse about how I'm wrong, and how you're saying that based on things that you pulled out of thin air, then if there's a god, may he have mercy on you.)
Low expectations always help. I caught this show the other night, and while the jokes are telegraphed a mile away, I admired how game the performers were. Farce can be difficult to pull off, and they--especially Douglas Sills--manage to succeed a good bit of the time. I don't see its having a healthy run, however.
Well, I loved it and so did all my friends. The audience was laughing throughout.
I don't understand the vitriol from many, but to each their own.
They have a basic marketing issue in that they're trying to market a play on the back of an opera singer who isn't performing opera in it but who does perform opera throughout NY many times each year (providing ample opportunities to see her).
"Well, I loved it and so did all my friends. The audience was laughing throughout. I don't understand the vitriol from many, but to each their own. They have a basic marketing issue in that they're trying to market a play on the back of an opera singer who isn't performing opera in it but who does perform opera throughout NY many times each year (providing ample opportunities to see her). Crossing my fingers for them tonight. "
The issue with the show is that it's the same three or four jokes that get reshuffled throughout the show, up to the point where they get old and stale not even through the halfway point of act one. Now, I can't speak for act two because it was the first show I have ever attended where I walked out during intermission (and was more than happy to do so.)
And yes, there's also an issue with marketing as well. Of course, if a play has a big star they are going to use that to their advantage when it comes to marketing a show. In this case, they have Fleming. However, the issue with Fleming is that even in her world of opera, she isn't the big name draw that she once was. That sort of thing naturally happens. But, for the producers to not realize that and think that tickets would be sold because of her being in the play? Well, that's a big error on their part.
Truthfully, the show wouldn't be on Broadway if it was't for Fleming being cast in it. However, she wasn't going to be and isn't a big ticket draw and it's also just not a well written play period. A double edge sword for the producers.
"Philly, if you're going to get on your high horse about how I'm wrong, and how you're saying that based on things that you pulled out of thin air, then if there's a god, may he have mercy on you.) "
I never pull things out of thin air. I look at the facts. I never said they were selling well. Im hoping the critics like it, and that they have a fab opening night.
"Well, I loved it and so did all my friends. The audience was laughing throughout. I don't understand the vitriol from many, but to each their own. They have a basic marketing issue in that they're trying to market a play on the back of an opera singer who isn't performing opera in it but who does perform opera throughout NY many times each year (providing ample opportunities to see her). Crossing my fingers for them tonight. "