TDF says their seating is in the Mezz. They said this with The Ferryman and I was sitting about 3rd row house left in the Orchestra.
I really really want to see her live onstage. It sounds like a heavy evening of theatre that I am not really in the mood for right now but the good reviews make me feel like I need to see it. I am really torn!
uncageg said: "I really really want to see her live onstage. It sounds like a heavy evening of theatre that I am not really in the mood for right now but the good reviews make me feel like I need to see it. I am really torn!"
I saw it last night. It's a remarkable, riveting piece of theater. Even at a 3rd preview, both performances are tight and on point. And of course MLP is fantastic. You need to see it.
UncleCharlie said: "uncageg said: "I really really want to see her live onstage. It sounds like a heavy evening of theatre that I am not really in the mood for right now but the good reviews make me feel like I need to see it. I am really torn!"
I saw it last night. It's a remarkable, riveting piece of theater. Even at a 3rd preview, bothperformances are tight and on point. And of course MLP is fantastic. You need to see itI
I just read a review that gives something away that I feel may have ruined it. The critic said that maybe he was giving away to much but didn't think he was. Will PM you with what it said.
(Wasn’t sure which thread to put this in, so I’m posting it in both)
I thought this was a really strong show overall.
The play is deceptively simple on the surface, and reveals more and more layers as it progresses. And even after seeing the show, I’m still really processing it. The show subverts the audience’s expectations at almost every turn, but not in an annoying Game of Thrones kind of way. The whole show is kind of ABOUT subverted expectations; the path that a narrative/life takes, and a writer/person’s relationship to that path. It sets up lots of parallels between the structure of the play we’re watching, and the conversations they have within the play about literature. But that’s just one interpretation; the plot is easy to follow, but I feel like if you ask 10 people what this show was really about at its core, to might get 10 different answers (and I think that’s a sign of a nuanced piece of writing).
David Cromer’s direction is fairly quiet and restrained, and like the play itself, the staging is deceptively simple - and very smart! I especially appreciated the tasteful and well-integrated use of projections.
Parker is giving a really beautiful, subtle performance. She really carries the show on her shoulders, and she does an excellent job. Will Hochman manages to hold his own reasonable well opposite her, but his performance didn’t wow me the way hers did.
I hope this show gets more buzz as the run goes on. I haven’t really heard people talking about it, but I think it’s a really solid, interesting addition to the season. For their own sake, I hope people don't skip this show just because MLP is returning to Broadway in a few months in a more famous play.
For the record: I THOUGHT I was going into this show knowing the big spoiler at the end, because someone let something slip to me before I saw it. But there were even more surprises after the thing I knew about.
I got a TodayTix rush seat last Wednesday right when they went up at 10:00 AM and got second row center mezzanine. Great seat. Don't know about LincTix or TDF.
I noticed it usually comes up on tdf for Wednesday night performances, although yesterday it briefly appeared for tonight’s show.
Saw it this past Wednesday, tdf was last row center orchestra. Show is a bit predictable, but phenomenal nonetheless. Mary Louise Parker is absolutely brilliant in it!