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Post by Michael on Nov 6, 2016 14:12:55 GMT
I chose will call (don't like digital or self print tickets)
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Post by 49thand8th on Dec 11, 2016 15:56:33 GMT
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Post by ali973 on Dec 11, 2016 17:14:30 GMT
I'm seeing it today!
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Post by ali973 on Dec 11, 2016 22:19:52 GMT
Wow, this was REALLY good. It feels like a mix between Next to Normal and The World's Greatest Dad, a film starring Robbin Williams from 2009, in which his disturbed asshole-ish son takes his own life, and his father drafts his suicide note for his own notoriety.
Ben Platt pretty much pockets every award under the sun for his neurotic, nervous, tearful, snotfull performance. snot
I'm not usually fond of the composers, whose music is only good when they sound like knockoffs of Coldplay, which they do here too, but they mainly remain consistent. You can tell that they labored most when writing the music for the title character himself, and the other songs are somewhat second class.
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Post by Michael on Dec 11, 2016 23:49:06 GMT
We seem to have seen the same performance.
I think it was rather good and reminded me in parts of Next to Normal. It found the right mixture of funny and touching. Ben Platt gave an amazing performance, but if Andy Karl's Broadway Phil Connor will be as good as he was in London, I'd give him all the awards.
Found the score to be a bit too generic pop, but the few uptempo numbers (especially "Sincerely, Me" and "You Will be found" stood out) were quite good and made me to not cancel the preordered cast recording.
Also thought it was a bit too long and dragged in places.
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Post by 49thand8th on Dec 12, 2016 0:23:18 GMT
"Sincerely, Me" was as enjoyable (and messed-up) at Second Stage as it was at Arena, and I'm glad it still stands out. I agree with you on the samey-ness of the rest of the score. Though it's not bad per se; it's just not screamingly good.
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Post by wednesdayaddams on Dec 22, 2016 21:08:00 GMT
"Sincerely, Me" was as enjoyable (and messed-up) at Second Stage as it was at Arena, and I'm glad it still stands out. I agree with you on the samey-ness of the rest of the score. Though it's not bad per se; it's just not screamingly good. For me, as a teenager with severe anxiety problems who relates to Evan a lot, the samey-ness of the score really relates to my anxiety. I often have to check things over and over again and I like everything to always be the same and not change, so the repetitive nature of the score always seems to me to be a reflection of Evan's anxiety, much like my own.
I'm not attacking your point here by the way, just figured I would give my interpretation of this!
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Post by Deleted on Jan 26, 2017 7:38:57 GMT
"Requiem" is streaming on the DEH website for 24 hours now, and it's a thing of beauty.
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Post by 49thand8th on Jan 26, 2017 18:09:30 GMT
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Post by ali973 on Jan 26, 2017 18:24:37 GMT
This totally reignited my interest in the show. I can't wait of the cast recording, which I suspect will make me sob uncontrollably over my lunch break at work.
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Post by heymrziegfeld on Jan 30, 2017 14:43:02 GMT
They've released another song from the show - really hope it comes to the West End.
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Post by Deleted on Jan 30, 2017 14:58:58 GMT
Unfortunately - and to my surprise - I wasn't a fan of this show. I usually love original musicals, especially those that tackle difficult subject matter. And I admire Dear Evan Hansen for doing so. But it didn't do it very well in my view. The characters were mostly stereotypes (and unlikable ones at that). The plot was predictable. The score was pretty bland (other than Waving Through a Window) and overly ballad-heavy. The comedy was almost entirely unfunny. And the show took way too long to get properly dark, relying heavily on this comedy up until the last couple of songs. I found myself thinking I was too old for it, although I know people older than me that have enjoyed it a lot. I can see why this show would resonate with teenagers. But I have to say I just found myself immediately wanting to listen to Next to Normal straight after.
On a positive note, Ben Platt was excellent and will be very deserving of the Tony that I'm sure he will be winning in June.
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Post by ali973 on Jan 30, 2017 17:29:36 GMT
I actually really enjoyed it and thought it was really gripping. And I love that they released You Will Be Found. If I were to pick a show to see again of the 10 shows I saw on Broadway in December, I would pick this again and hope to see it again. If Trump lets me back in the States! Yikes!
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Post by Kenneth_C on Jan 31, 2017 19:12:59 GMT
I want to see this when I'm in New York in September, but they're going to have to release more tickets at lower prices.
$399 for Orchestra [Stalls] is absolutely ridiculous. That's $100 more than I'm paying to see Bette Midler in Hello Dolly! Even $189 for 5th row Mezzanine is a bit much, when a 2nd row Mezz ticket for Hamilton on the same trip only cost $199. (Yeah, I said "only".)
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Post by Deleted on Jan 31, 2017 19:22:46 GMT
I want to see this when I'm in New York in September, but they're going to have to release more tickets at lower prices. $399 for Orchestra [Stalls] is absolutely ridiculous. That's $100 more than I'm paying to see Bette Midler in Hello Dolly! Even $189 for 5th row Mezzanine is a bit much, when a 2nd row Mezz ticket for Hamilton on the same trip only cost $199. (Yeah, I said "only".) Yeah the prices are really something. Luckily the Music Box is a great theatre, I went for second row from the back (where I also sat for Shuffle Along there) and it's a fine view. And so it should be for $120! |
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Post by ali973 on Jan 31, 2017 19:34:57 GMT
Are they serious? $399 is a joke. WTH is wrong with them.
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Post by couldileaveyou on Feb 3, 2017 9:23:43 GMT
I have just played the cast recording and I found it very nice, if not a bit generic and cliched. I'm sure I would have loved it when I was a teenager.
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Post by viserys on Feb 3, 2017 10:46:24 GMT
I'm not a fan of that particular generic modern musical-pop sound either. This said, I would kill for an Unplugged version of the cast recording. There are so many songs that start with a wonderful melody but get ruined half-way through when the band launches in with noisy guitars and drums. I've been assured that it sounds less noisy live in the theatre, so here's hoping.
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Post by ali973 on Feb 3, 2017 10:50:25 GMT
*POSSIBLE SPOILER ALERT* Can someone remind me how Evan breaks his arm in the show? I totally forgot but I remember that there was a little reveal about it. |
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Post by couldileaveyou on Feb 3, 2017 11:00:47 GMT
*POSSIBLE SPOILER ALERT* Can someone remind me how Evan breaks his arm in the show? I totally forgot but I remember that there was a little reveal about it. {Spoiler - click to view}
He tries to kill himself by jumping off a tree, but he only breaks his arm |
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Post by Deleted on Feb 3, 2017 13:56:15 GMT
I have just played the cast recording and I found it very nice, if not a bit generic and cliched. I'm sure I would have loved it when I was a teenager. Thankyou for making me feel a bit saner. This is basically what I thought of the music and also the show itself. |
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Post by Someone in a tree on Feb 4, 2017 18:19:33 GMT
I'm loving the cast recording. It's now on its 6 th play
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Post by dazzerlump on Feb 4, 2017 18:49:06 GMT
Maybe Ive missed the thread for this, but just wanted to say how much im loving this already, been listening to it all day. Im really hoping this does well at the Tony's so it gets a transfer... but where would it go?
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Post by ali973 on Feb 4, 2017 18:57:10 GMT
OMG RUN!!!! There's a message about it on the International Board. Quick! Delete or merge this post before you get a ticket!!!
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Post by ali973 on Feb 4, 2017 19:00:59 GMT
PS
I don't see this in London. There's something about the American-ness of it that doesn't strike me as being desired in England.
I think American stories are generally liked in the UK so long as they are of universal themes, or if they are pure entertainment..ie Dreamgirls, Legally Blonde, Hamilton (TBC, but I have a good feeling), but shows that deal with social dramas such as Dear Evan Hansen, Next to Normal, etc would struggle to find an audience, let alone a brave producer who would take a risk.
Of the recent Broadway shows that still haven't confirmed, I think Waitress has the best chance to cross (and do well).
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