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Post by Deleted on May 4, 2017 7:33:34 GMT
I love Comet for it's staging, and for being a real innovative but fun evening at the theatre. Far from being a "fun evening at the theatre", Comet left me feeling figuratively battered and bruised. It was one of the most unpleasant experiences I have ever had in the theatre. Let me explain... I saw it during previews, from a central Orchestra [Stalls] seat, next to a runway located house right. I had read really good things about Comet from its regional performances, and decided to take a chance on this new musical. Walking into the theatre, everything looked amazing and I was really excited for what was to come. Unfortunately, my excitement crashed & burned within a few minutes of the start. Remember that ramp I was sitting by? Well, it was inhabited by several members of the Ensemble whose idea of 'audience interaction' amounted to screaming in our faces "Are we having fun yet?!!!" (Not literally, but you get the idea.) It was like suddenly finding yourself dropped into Baz Luhrman's Moulin Rouge -- specifically the "Can Can" number, full of in-your-face leering and desperately OTT antics. Once established, that mode basically kept up for the next 2 hours. Even when the Ensemble weren't screaming in my face, I found the show overly loud, overly boisterous, and overly busy. For example: there was one song (don't remember the name but it was between Natasha and her BFF) where the two actresses began singing at one level of the stage opposite one another, ran up the stairs behind them part way through, then crossed over, then ran back down the stairs. Completely meaningless activity that was distracting and did nothing but try and force energy into an otherwise dormant scene. [Gawd forbid that two people stand still for 4 minutes and sing a song!!!] The audience response at the end was tepid, with most of the enthusiasm coming from the onstage banquettes (who were no doubt happy with their pierogies). As I walked out of Comet, I not only had a headache from the onslaught of the prior 2 hours, but I was convinced that it would be slaughtered by the reviewers. It was, I believed, a tale told by idiots, full of sound & fury and signifying nothing. So, you can imagine my UTTER SHOCK when Comet opened and reviewers fell all over themselves. I don't think I have ever felt more disconnected from other people's theatrical experiences than that. I have been told, by people I know & respect, that changes were made since I saw it in previews. That staging was improved and that the hyper-aggressive Ensemble interactions have been considerably toned down. I have been told that I really need to see it again. But my original experience was far from being a "fun evening at the theatre". I'm sorry you had such a bad time, obviously these things are subjective. I personally know I wouldn't enjoy it on stage due to my aversion to audience interaction, so I totally sympathise there. From my vantage point safely in the stalls I had a good enjoyable time, but obviously I was just speaking for myself.
I would agree that maybe it's changed enough since previews/sitting elsewhere would help but personally if I had such a bad experience nothing would convince me to set foot in there ever again either.
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Post by 49thand8th on May 4, 2017 14:28:58 GMT
I love Comet for it's staging, and for being a real innovative but fun evening at the theatre. However I agree the music doesn't stand up against others- and I don't think it really will win awards for that aspect. Personally I wouldn't hate it being awarded best musical because I think that should be about the sum of it's parts and it is an experience and a half, and something really original (despite being an adaptation haha) but I doubt it will. I admired Comet more than I enjoyed it. I have immense respect for Mimi Lien and how she transformed that space into the wild party it is. I totally agree about the music, and I felt like the show was in love with its own production values a bit too much. |
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Post by Deleted on May 4, 2017 14:31:56 GMT
I love Comet for it's staging, and for being a real innovative but fun evening at the theatre. However I agree the music doesn't stand up against others- and I don't think it really will win awards for that aspect. Personally I wouldn't hate it being awarded best musical because I think that should be about the sum of it's parts and it is an experience and a half, and something really original (despite being an adaptation haha) but I doubt it will. I admired Comet more than I enjoyed it. I have immense respect for Mimi Lien and how she transformed that space into the wild party it is. I totally agree about the music, and I felt like the show was in love with its own production values a bit too much. That's fair, thinking about it maybe I didn't exactly mean 'enjoyable' as in soft and fluffy and fun or whatnot more of a 'it's pretty, a spectacle and entertaining' kind of way. And there's no doubt it knows how clever it thinks it is. Or something.
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Post by madsonmelo on May 6, 2017 15:45:31 GMT
Ok, I watched The Great Comet yesterday and quite enjoyed, didn't know much, so I have to say it was a strange ride, but a good one.
The staging is incredible, so inventive and puts a lot of work for the actors, and I don't think the interactions were a problem, but there was a guy that was not having it lol. The light work, the costumes, everything made me feel back some centuries, really well done and thoughtful all around.
I didn't know about the (THIS MAYBE A SPOILER ABOUT THE SCORE) fact that they used EDM within the more ''classical'' songs and there was a part that I almost screamed because came out of nowhere lol, some of this edm really worked, some few quite didn't, but it wasn't a problem(END OF SPOILER ABOUT THE SCORE).
I liked that it was, basically, a operetta (?), with no talking at all. The cast was amazing, Malloy was there (and he's incredible with the role, no surprise), not Groban, but I was most impressed with Benton. I knew her for UnReal, but never knew she could sing to beautifully, and she's so believable as a fragile, innocent woman, really amazing acting.
Ashford's voice makes some lyrics difficult to understand, but she still retains a lot of love and compassion. Grey has an amazing solo and the ensemble is incredible.
The MVP, tho, was Lucas Steele. He does SO MUCH that is impossible to not be dazzled. He sings, he dances, plays a violin, hold notes for 20 seconds, it's funny, charming, also an a jerk and do all this climbing all those stairs. I mean, the ''Balaga'' moment is perfection for him.
I quite liked the book and have to agree that there isn't anything like this on Broadway. Really worth it!
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Post by madsonmelo on May 6, 2017 15:48:19 GMT
As far as Tony goes, Rachel has to win the direction Tony. It has to win scenic design, light design, costumes and orchestrations.
Benton is my first nominee, will see the others in the next days.
Steele is my fave from the featured actor (aside from Creel that won't see, I guess).
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Post by ali973 on May 6, 2017 15:57:05 GMT
madsonmelo, you sure use a lot of acronyms.
Dust and Ashes does come out of nowhere, compared to the rest of the score. Style wise, as well as just a pure "moment". But it's a great song and you can hear Groban (or the composer, in your case) sing his heart out.
Lukas Steel I thought was good- but I'm surprised at the critical acclaim he's receiving. I thought anyone could play the part TBH.
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Post by madsonmelo on May 6, 2017 16:19:23 GMT
Sorry, MVP is most valuable player and the other one means (AGAIN, SPOILER).... eletronic dance music
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Post by madsonmelo on May 8, 2017 17:15:42 GMT
After see Miss Saigon. How did they snubbed Jon Jon Briones? and Eva is such an amazing actress/sing, I really believe she should win if Midler was not up for this award. And that first act is long as hell, 19 songs?!? But the score is amazing.
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Post by Deleted on May 8, 2017 17:23:05 GMT
So Andy Karl just won the Outer Critics Award and is likely to win the Drama Desk Award too for Groundhog Day.
Ben Platt lost the Outer Critics last year for Dear Evan Hansen and wasn't even nominated at the Drama Desk.
I do wonder why everyone is tipping Ben Platt as an absolute lock, I can see Andy taking it too. This is the only awards show though (bar Drama League) where they are up against eachother though!
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Post by Deleted on May 8, 2017 17:29:05 GMT
I don't think Platt is a lock either but it is true that he is in the stronger show and that awards bodies tend to be drawn to performances where people do a lot of crying like Ben is doing, cynical as it may sound. It's a shame they're in the same year, I personally think they're equally good performances, just complete opposites.
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Post by Deleted on May 8, 2017 17:31:06 GMT
I don't think Platt is a lock either but it is true that he is in the stronger show and that awards bodies tend to be drawn to performances where people do a lot of crying like Ben is doing, cynical as it may sound. It's a shame they're in the same year, I personally think they're equally good performances, just complete opposites. It is one of those years where you just think "why are we bothering, just give them both an award". |
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Post by madsonmelo on May 9, 2017 17:19:12 GMT
I believe Platt is a lock. He has so much going on for him.
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Post by 49thand8th on May 9, 2017 17:28:52 GMT
I'm wondering if voters think he's so young he'll no doubt have other chances down the road, so maybe he isn't such a lock. But I don't feel all that emotionally invested this year (very interested, but not going to be devastated over any winners) -- just curious!
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Post by Deleted on May 13, 2017 0:05:51 GMT
I just realized that Mike Faist got a nomination but Aaron Tveit didn't in 2009 for Next to Normal. Both play(ed) {Spoiler - click to view}dead sons but Faist's role is barely there, has little emotional relevance, no solos and Tveit was the exact opposite. I'm legitimately annoyed now about a nomination that didn't happen eight years ago haha. I mean I'd love to know what Faist does in DEH that was more impressive than this: |
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Post by Mark on May 13, 2017 4:15:16 GMT
Mike is really great. A bit of his singing pieces aren't on the cast album. Really enjoyed his performance.
Not sure why Tveit didn't get nominated but they are different roles and different times
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Post by Deleted on May 13, 2017 11:51:53 GMT
Mike is really great. A bit of his singing pieces aren't on the cast album. Really enjoyed his performance. Not sure why Tveit didn't get nominated but they are different roles and different times I have seen Dear Evan Hansen and whilst Faist did a fine job, Tony worthy? Not really. And yes different roles, and Tveit's role was much better, which is why I'm confused! I suppose I'm just endlessly frustrated over why Dear Evan Hansen is getting all of the attention that Next to Normal didn't. (Except from the Pulitzers, thank you Pulitzers). |
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Post by Deleted on May 13, 2017 11:56:37 GMT
Faists nomination was the shock one for everyone this year it seems. Especially as it is a packed Supporting Actor year and no one predicted him. As for Tveit, it wasn't what he did/didn't do, its just the fact that year was also a packed Season. I mean, look at the people who did get nominated that year, a worthy category from what I've heard:
Gregory Jbara – Billy Elliot the Musical as Dad (WINNER)
David Bologna – Billy Elliot the Musical as Michael Caffrey
Marc Kudisch – 9 to 5 as Franklin Hart Jr.
Christopher Sieber – Shrek the Musical as Lord Farquaad
Will Swenson – Hair as Berger
I mean... Dad is an award-magnet role. Michael gets a show-stopping number that Tony Awards love. Franklin is really the lead male in 9 to 5 and should of arguably been put in lead but its a great comedic role. For a lot of people, Farquaad is the best part of Shrek the Musical, and gained raves, and gets respect for the physical demand of the role. and Berger is a great role in Hair! So it was a tough category for Tveit to get in. But if someone was bumped out for him, it probably would of been Marc Kudisch. |
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Post by Deleted on May 13, 2017 11:59:53 GMT
Hmm, see I'd say this season is more packed for that category!
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Post by Deleted on May 13, 2017 12:00:37 GMT
Hmm, see I'd say this season is more packed for that category! Completely agree, which makes the Faist nomination all the more surprising! |
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Post by Deleted on May 13, 2017 12:03:12 GMT
I do know Tom Kitt (composer of Next to Normal) is on this year's nominating committee so maybe he fought for Faist to be nominated as a way of justice for Tveit haa.
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Post by Deleted on May 14, 2017 6:31:04 GMT
I'm quite surprised, reading an article at the New York Times where Jesse Greene and Ben Brantley (I think it was Brantley) in which one of them said John Sanders should of been nominated for Featured Actor in a Musical for Groundhog Day, in the same role Andrew Langtree got nominated for the Olivier Award for this year. I'm somewhat surprised this role gets such a positive response although his number in Act II was one of the highlights for me when I saw it in London, and its a great comedic role until that dark moment in Act II. Much as I love Groundhog Day though, I would of been surprised to see that role nominated for the Tony as well.
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Post by ali973 on May 14, 2017 8:20:06 GMT
It's barely a "role". It feels more like a glorified ensemble part than a role. Same for Nancy. They do make their mark with these moments, but otherwise there are two leads (Phil and Rita), and I feel no supporting roles per se.
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Post by Deleted on May 14, 2017 17:07:27 GMT
Not really here for this choice. If they have to have another white man can it at least be one that will sing and dance for my entertainment? Still excited for the night though. Kevin Spacey can sing. So I don't see the issue. |
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Post by Deleted on May 14, 2017 17:12:52 GMT
Not really here for this choice. If they have to have another white man can it at least be one that will sing and dance for my entertainment? Still excited for the night though. Kevin Spacey can sing. So I don't see the issue. He can but I doubt he will. |
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Post by Deleted on May 14, 2017 17:15:04 GMT
He's a boring choice. You want to have some fun with your Tonys host, I don't think that's something that Spacey will naturally bring.
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