Post by ali973 on Jun 4, 2017 4:18:02 GMT
Hey fellas..I've been making the rounds in Broadway and across America. Check out my log.
HAMILTON (Chicago)
This is my fourth or fifth visit, having seen it in December. This outing featured two new leads: Joseph Morales as alternate “Sunday” Hamilton, and Daniel Breaker, the original Donkey in Shrek as Burr. The entire cast is just fabulous, even better than they were in December, and the show is smooth as butter. Breaker gives a very understated performance as Burr, which I liked. Morales’s Hamilton is quite similar to Miguel Cerventes, who plays the lead on regular performances. As usual, Karne Elivo steals the show with her Angelica moments.
AUDRA MCDONALD & SETH RUDETKSY (with WILL SWINDEN)
Impromptu purchase to a show I never knew was going on. This took place at the Steppenwolf Theatre in Chicago. Usual evening of banter with Seth, and I think the program is more or less identical to the concerts they gave in London, which I never saw. So this was a good way to both see Audra in action, and also catch up on their series. I can’t say I enjoyed it as much as I enjoyed his concerts with Patti LuPone in Leicester Theatre. Will was there to basically baby sit the child. He sang “You Don’t Bring Me Flowers” with Audra, and “I Am a Pirate King” from Pirates o Penzance, which they said will be on Broadway next season. In all honesty, they all seemed a wee bit tired and exhausted, which is unusual for someone like Seth who appears to have had five redbulls before going on stage.
COME FROM AWAY
I decided to only give this a chance some time ago simply because of its Tony contention, and also because I have serious FOMO tendencies. The cast is extremely talented, and the switching between characters is extremely fluid and smooth. Can’t say that there’s a plot per se, it seems more like a series of vignettes. I am not one for ensemble casts, and although there are a few standouts, it remains an ensemble show. The music is not my cup of tea at all, and it reminded me of Lord of the Dance. Overall, I found the show basic and very much catering to the masses.
WAITRESS
I went to see this again because my friend wanted to see it, and for FOMO with Sara Breilles in it at the moment, I decided to go see it again. I also felt that I could have enjoyed it more the last time I saw, but I figure I was so tired on my last visit having seen it after a fourteen hour flight and a full day of being out and about in the city. I actually liked it a lot more this second time. Sara’s acting is quite good and much better than expected. Vocally she is wonderful, and it was actually good to hear someone who does not sing too “BROAD-way”, i.e. singletons on the long notes with no overdone vibratto and over the top jaw action. I thought Will Swinden was underused here. Seriously don’t mind seeing it again with Betsy Wolf in the future.
HELLO, DOLLY!
Well let’s start with the “negative”. The book is slightly dated (It Takes a Woman, anyone? I thought it was slightly misogynistic). David Hyde Pierce is fine, but for the love of God don’t make him do Penny in My Pocket as the Tony number. Of course, the doll of the evening is Midler, who can cough and the entire audience would roar in approval and applause. She’s cute, and she earns it. The orchestra is gorgeous, which makes the cast recording all more of a disappointment to listen to now. The male dancers are probably the best in the business. These boys are practically athletes considering the work they do on that stage. Jennifer Minard steals the show in its comedic moments, and should have been nominated for a Tony over Kate Baldwin (who is good already). Production wise, this is top notch. I was a bit annoyed by the audience that laughed at ever. single. thing.- even when it really only garnered a grin at most. Though everyone says this is Bette’s show, and it is in many ways, I would love to see it with Donna Murphy in the future. It’s so beautifully done that I think it would work well with any (good) leading lady of a certain diva-like character. BROADWAY CELEB SPOTTING: Neil Patrick Harris and husband in the row in front of me.
SUNSET BOULEVARD
Back to my favorite musical of all time. I’ve already posted details on this version on the ENO post in Musicals, so I won’t recap again, but I’m happy to see that Sunset is back with full force. Of all the people I’ve talked to, I’ve yet to meet anyone who has seen the original version in the ‘90s. I feel both old and that I’m part of a dying species.
MARIN MAZZIE & JASON DANIELLY AT 54 BELOW
Children, this is what a masterclass is. These two sing marvelously, and are a true class act. Their Sondheim medley was inspired. I got chocked up listening to Marin singing her original roles from Passion and Ragtime. At times it got a bit emotional and bleak, with some of the songs almost touching on her possible mortality. Though they say she is making progress. She is noticeably frail, but still ever so glamorous and dignified. BROADWAY CELEBRITY SPOTTING: Rebecca Luker, Karen Ziemba and Kiera Lindsey in the audience.
GROUNDHOG DAY
I seriously think this is by far the most sophisticated show on Broadway right now. Say what you want about the convoluted Dear Evan Hansen, which I enjoyed, but hardly has all the layers that Tim Minchin labored on. The show is more or less identical to the Old Vic version, with exceptions to If I Had My Time Again (which I’m certain is restaged) and the Act I finale (which I think was *slightly* restaged). BROADWAY CELEB SPOTTING: Constantine Marulious in the row behind me. Yelled out “yea, buddy!” and started a small ovation when Andy Karl first appears.
MISS SAIGON
I’m honestly not too sure why I decided to see this again, having seen it so many times in London. The London imports do a fabulous job (Eva, Alisdair, Rachelle, Jon Jon), but their new co-leads are so-so. Despite all we’ve said about Hugh Manyard, his American equivalent (name escapes me…I saw him as Washington in Hamilton last year), isn’t up to the match. Having seen five Ellens in London, I still think that Siobhan’s Ellen was the best. The set is quite larger here, but the staging is identical, with exception to Kim’s “you must take Tam with you” as she wonders the streets of Bangkok. If I am not mistaken, in London we see her on top of the hut singing the lines. In this version, because the auditorium is so big, the there are stairs that are part of the set that extend on the far ends of the stage up to mid-mezzanine. Kim is on top of these stairs coming down. Good staging, and similar to the original.
ANASTASIA
To all people who said this was a missed opportunity, or that it’s a bad adaption of the film. Um, what were you expecting, Les Miz? They are basing this on a children’s cartoon- it never was going to be a work of high dramatic art. Yes, it has difficulty trying to decide if it wants to be a pop melodrama, an operetta or a family musical. In a way, it’s a bit of all the above. But it’s a family show- and despite some of its rudimentary and clunky book scenes, it works without being totally foolish and condescending to the adults in the audience. Of all cartoon to stage versions (Beauty and the Beast, Aladdin, Lion King, Little Mermaid), this was the best. The design is beautiful, despite the sometimes overwhelming projections. Ramin is way too overqualified for this, but his songs are good. Caroline O’Connor is basically doing Mabel, but my GAWD is this woman thrilling. Her comic chops, fabulous dance moves and voice rock. Bring her back to England and give her a big ol’ diva role please.
WAR PAINT
I always had issues with the writers of this show. When the cast recording came out, I thought it was brilliantly recorded and orchestrated. But there’s something just unexciting about the entire show. A lot of it, I think has to do with the fact that Rubenstein and Arden were both capitalist assholes, and I simply did not give a toot whether they succeeded or not. I also thought that the writers were at fault for not showing any of the two leads’ vulnerability until towards the very end of the show. Otherwise, it was basically a show about being in an office. LuPone and Ebersole are divine of course— and it was an honor to see them. BROADWAY CELEB SPOTTING: Idina Menzel in the row in front of me.
HEDWIG (Boston)
Came back to Boston for my 15th year college reunion, and saw the show here. Funnily, I saw the original version here as well, back in either ’99 or 2000, when there was a sit-down production in Boston, based on the original off-Broadway version. I really enjoyed this version too. 15 years later, and with gender and trans politics making a huge leap, it made lot more sense, and Hedwig’s story with Tommy is clearer. Great performance by Ewan.
..and that’s all folks. Heading back home to pay them bills. Won’t be musicalizing until September!
HAMILTON (Chicago)
This is my fourth or fifth visit, having seen it in December. This outing featured two new leads: Joseph Morales as alternate “Sunday” Hamilton, and Daniel Breaker, the original Donkey in Shrek as Burr. The entire cast is just fabulous, even better than they were in December, and the show is smooth as butter. Breaker gives a very understated performance as Burr, which I liked. Morales’s Hamilton is quite similar to Miguel Cerventes, who plays the lead on regular performances. As usual, Karne Elivo steals the show with her Angelica moments.
AUDRA MCDONALD & SETH RUDETKSY (with WILL SWINDEN)
Impromptu purchase to a show I never knew was going on. This took place at the Steppenwolf Theatre in Chicago. Usual evening of banter with Seth, and I think the program is more or less identical to the concerts they gave in London, which I never saw. So this was a good way to both see Audra in action, and also catch up on their series. I can’t say I enjoyed it as much as I enjoyed his concerts with Patti LuPone in Leicester Theatre. Will was there to basically baby sit the child. He sang “You Don’t Bring Me Flowers” with Audra, and “I Am a Pirate King” from Pirates o Penzance, which they said will be on Broadway next season. In all honesty, they all seemed a wee bit tired and exhausted, which is unusual for someone like Seth who appears to have had five redbulls before going on stage.
COME FROM AWAY
I decided to only give this a chance some time ago simply because of its Tony contention, and also because I have serious FOMO tendencies. The cast is extremely talented, and the switching between characters is extremely fluid and smooth. Can’t say that there’s a plot per se, it seems more like a series of vignettes. I am not one for ensemble casts, and although there are a few standouts, it remains an ensemble show. The music is not my cup of tea at all, and it reminded me of Lord of the Dance. Overall, I found the show basic and very much catering to the masses.
WAITRESS
I went to see this again because my friend wanted to see it, and for FOMO with Sara Breilles in it at the moment, I decided to go see it again. I also felt that I could have enjoyed it more the last time I saw, but I figure I was so tired on my last visit having seen it after a fourteen hour flight and a full day of being out and about in the city. I actually liked it a lot more this second time. Sara’s acting is quite good and much better than expected. Vocally she is wonderful, and it was actually good to hear someone who does not sing too “BROAD-way”, i.e. singletons on the long notes with no overdone vibratto and over the top jaw action. I thought Will Swinden was underused here. Seriously don’t mind seeing it again with Betsy Wolf in the future.
HELLO, DOLLY!
Well let’s start with the “negative”. The book is slightly dated (It Takes a Woman, anyone? I thought it was slightly misogynistic). David Hyde Pierce is fine, but for the love of God don’t make him do Penny in My Pocket as the Tony number. Of course, the doll of the evening is Midler, who can cough and the entire audience would roar in approval and applause. She’s cute, and she earns it. The orchestra is gorgeous, which makes the cast recording all more of a disappointment to listen to now. The male dancers are probably the best in the business. These boys are practically athletes considering the work they do on that stage. Jennifer Minard steals the show in its comedic moments, and should have been nominated for a Tony over Kate Baldwin (who is good already). Production wise, this is top notch. I was a bit annoyed by the audience that laughed at ever. single. thing.- even when it really only garnered a grin at most. Though everyone says this is Bette’s show, and it is in many ways, I would love to see it with Donna Murphy in the future. It’s so beautifully done that I think it would work well with any (good) leading lady of a certain diva-like character. BROADWAY CELEB SPOTTING: Neil Patrick Harris and husband in the row in front of me.
SUNSET BOULEVARD
Back to my favorite musical of all time. I’ve already posted details on this version on the ENO post in Musicals, so I won’t recap again, but I’m happy to see that Sunset is back with full force. Of all the people I’ve talked to, I’ve yet to meet anyone who has seen the original version in the ‘90s. I feel both old and that I’m part of a dying species.
MARIN MAZZIE & JASON DANIELLY AT 54 BELOW
Children, this is what a masterclass is. These two sing marvelously, and are a true class act. Their Sondheim medley was inspired. I got chocked up listening to Marin singing her original roles from Passion and Ragtime. At times it got a bit emotional and bleak, with some of the songs almost touching on her possible mortality. Though they say she is making progress. She is noticeably frail, but still ever so glamorous and dignified. BROADWAY CELEBRITY SPOTTING: Rebecca Luker, Karen Ziemba and Kiera Lindsey in the audience.
GROUNDHOG DAY
I seriously think this is by far the most sophisticated show on Broadway right now. Say what you want about the convoluted Dear Evan Hansen, which I enjoyed, but hardly has all the layers that Tim Minchin labored on. The show is more or less identical to the Old Vic version, with exceptions to If I Had My Time Again (which I’m certain is restaged) and the Act I finale (which I think was *slightly* restaged). BROADWAY CELEB SPOTTING: Constantine Marulious in the row behind me. Yelled out “yea, buddy!” and started a small ovation when Andy Karl first appears.
MISS SAIGON
I’m honestly not too sure why I decided to see this again, having seen it so many times in London. The London imports do a fabulous job (Eva, Alisdair, Rachelle, Jon Jon), but their new co-leads are so-so. Despite all we’ve said about Hugh Manyard, his American equivalent (name escapes me…I saw him as Washington in Hamilton last year), isn’t up to the match. Having seen five Ellens in London, I still think that Siobhan’s Ellen was the best. The set is quite larger here, but the staging is identical, with exception to Kim’s “you must take Tam with you” as she wonders the streets of Bangkok. If I am not mistaken, in London we see her on top of the hut singing the lines. In this version, because the auditorium is so big, the there are stairs that are part of the set that extend on the far ends of the stage up to mid-mezzanine. Kim is on top of these stairs coming down. Good staging, and similar to the original.
ANASTASIA
To all people who said this was a missed opportunity, or that it’s a bad adaption of the film. Um, what were you expecting, Les Miz? They are basing this on a children’s cartoon- it never was going to be a work of high dramatic art. Yes, it has difficulty trying to decide if it wants to be a pop melodrama, an operetta or a family musical. In a way, it’s a bit of all the above. But it’s a family show- and despite some of its rudimentary and clunky book scenes, it works without being totally foolish and condescending to the adults in the audience. Of all cartoon to stage versions (Beauty and the Beast, Aladdin, Lion King, Little Mermaid), this was the best. The design is beautiful, despite the sometimes overwhelming projections. Ramin is way too overqualified for this, but his songs are good. Caroline O’Connor is basically doing Mabel, but my GAWD is this woman thrilling. Her comic chops, fabulous dance moves and voice rock. Bring her back to England and give her a big ol’ diva role please.
WAR PAINT
I always had issues with the writers of this show. When the cast recording came out, I thought it was brilliantly recorded and orchestrated. But there’s something just unexciting about the entire show. A lot of it, I think has to do with the fact that Rubenstein and Arden were both capitalist assholes, and I simply did not give a toot whether they succeeded or not. I also thought that the writers were at fault for not showing any of the two leads’ vulnerability until towards the very end of the show. Otherwise, it was basically a show about being in an office. LuPone and Ebersole are divine of course— and it was an honor to see them. BROADWAY CELEB SPOTTING: Idina Menzel in the row in front of me.
HEDWIG (Boston)
Came back to Boston for my 15th year college reunion, and saw the show here. Funnily, I saw the original version here as well, back in either ’99 or 2000, when there was a sit-down production in Boston, based on the original off-Broadway version. I really enjoyed this version too. 15 years later, and with gender and trans politics making a huge leap, it made lot more sense, and Hedwig’s story with Tommy is clearer. Great performance by Ewan.
..and that’s all folks. Heading back home to pay them bills. Won’t be musicalizing until September!