December 2010 Reviews - NYC

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phoebe
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Re: December 2010 Reviews - NYC

Post by phoebe »

I'll echo the sentiment, MD! Thanks for the vivid description.
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Re: December 2010 Reviews - NYC

Post by Moby-Dick »

Thanks so much, Ellen, porschesrule, and phoebe for not only taking the time to wade through my enthusiastic verbosity for the show but also for leaving such kind words re: my review!

It's always so encouraging to know that my ramblings aren't completely for naught. Though, to be quite honest, I'd probably still write them down even if no one read them - I enjoy it that much! :mrgreen: Am only sorry that I spent so long as an inactive member of this board so as to have missed leaving comments on the many marvelous reviews that were written over the past couple of months! (Have got a lot of reading to do, for sure...)

Am so happy to return as an active member of this board again - it is too marvelous a community from which to stay away for long!

x
M-D
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Re: December 2010 Reviews - NYC

Post by phoebe »

Welcome back, MD!
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Re: December 2010 Reviews - NYC

Post by Musical Fanatic »

Very nice review Moby-Dick. Welcome back.

Sam
Bre*st Cancer awareness. My
Mom is now a ! year survivor
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Re: December 2010 Reviews - NYC

Post by Moby-Dick »

Thanks so much, phoebe and Sam!

Sam, I still remember running into you outside the Imperial this past summer. :lol: Looking forward to a brand near year of reviews!

x
M-D
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Re: December 2010 Reviews - NYC

Post by Billy Fanatic »

Moby-Dick wrote:Something different in the audience's reaction to this scene was the particularly audible "Awwwwh" they gave when Small Boy gets lifted up onto Big Davey's shoulders.
At all five shows I saw last October "Awwwwh" was the audience's response to Big Davey's hoisting of Small Boy onto his shoulders. A small tender moment between father and son that perfectly counterbalances the harshness and meanness of George's "break his legs" line.
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"Normal not to be normal"

BROADWAY - 19:
Billy: Alex K. x3, Giuseppe x1, Jacob x2, Joseph x5, Julian x2, Myles x1, Peter x4, Tade x1
Michael: Cameron x7, Jack x5, Jake S. x2, Neil x5
Debbie: Georgi x5, Lilla x14
Small Boy: Alex D. x10, Seth x3, Zachary x6
Tall Boy/Posh Boy: Ben x12, Giuseppe x1, Joseph x2, Julian x2, Myles x1, Tade x1

TOUR - 3
RICHMOND, VA:

Billy: Ben x1, Drew x1, Noah x1
Michael: Jake K. x1, Sam x2
Debbie: Samantha x3
Small Boy: Cal x3
Tall Boy/Posh Boy: Jake K. x2, Sam x1
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Re: December 2010 Reviews - NYC

Post by Gavroche »

ERinVA wrote:So far as I know, all versions of the show so far have had the dresses, but the pants were a Broadway addition, as was the lighted mirror and lighted arches.

Hi there. It's been a while since I've posted here and I must say it's great catching up with the reviews, etc. I do have to say though that both Australian productions had the big dancing dresses AND Michael's lighted mirror, but not all the arches I saw on Broadway. I loved the Michael's telling the pants off for being on stage when it was "women's clothing only" allowed.
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Re: December 2010 Reviews - NYC

Post by angelenroute »

Sorry billyforlife, just catching up here and read your reviews. Thank you for taking the time to write as much as you did, at times detailing everything as it happens on stage to transport us right to the theatre! =) Added some comments in blue below. --Sean
billyforlife wrote:Part 2!
Peter...almost surprised at my telling him this and was very modest and nice. He was really lovely and it is seriously a wonder these boys are not even remotely arrogant. Dayton was even more modest, and was very shy at the stage door.

Agreed, it's always amazing to see how sweet and humble they are!!! =)


Solidarity was spectacular. I applaud the members of the ensemble for their many parts, for they really are the backbone of the show and don't get enough credit for all they do.

Amen! Great word, backbone. They really are awesome, each and every one of them!

I have a question, is Billy's Star Trek Annual authentic? It probably is because BETM is usually flawless, but I am just curious if anyone knows.

Would be interested to find out if anyone does. Good question.

Broadway Angry Dance...the Australian production...the boys didn't hold back as far as swearing goes (but I think that's just Australian culture not caring as much as Americans do in regards to sensitivity of language...though there is still plenty of swearing in the rest of the show). I much prefer the Australian choreography of Billy's dance when the police are hitting the shields, and I loved that Billy walked to the back of the stage and screamed to end the number, with the stage going black. I think that it is important for the show to go out with a "BANG" instead of the lights remaining on and Billy awkwardly walking off stage. Dayton gave a bit of a death stare to the audience, but I think that it wasn't quite dramatic enough to end the scene. Oh, and another difference is that in Aus, Billy wasn't in the box for as long as they are on Broadway. I thought it was too long, especially as you have to be in the centre of the audience to be able to see Billy in the box, and it went on for too long.

Interesting comments you make on this. I for one would love more cursing and I know I'm not alone in that. But I trust the Broadway company has done their due diligence and tested all they can on that. Unfortunately for us, Americans are stuck up. Funny how the land of the free, a country founded on rights and freedoms, has got such a big stick up its astronaut.

Deep into the Ground was a little bit disappointing for me. I wasn't that crazy about Greg's voice to be honest. It seemed like he rushed into the song a bit.

Greg is pretty unique as far as I can tell in that he never does the song the exact same way, but is always trying things out. To a new audience, it sounds great exactly how it is (on any given night) but only the trained fan will note his variations. I couldn't even tell you exactly what they are, only that it's become obvious that he inflects and sings it differently all the time.


The father of Tall Boy was HILARIOUS. How he spoke and laughed was just so so so funny. How he kept throwing his head back in silent laughter. I'm laughing just remembering it.

The current (as of December) Posh Dad is very funny. It's an interesting point that we see characters like his, Scottish Dancer, etc. only in the second half because the audience is delighted by that. Still introducing fun new characters in the second half?!!??! It's awesome! And again, yeah, he does a great job!

The Letter Reprise was heartbreaking not just within itself as it always is, but because it was the first time Dayton started to crack a bit. As he was singing his part he started to choke on his words and he had difficulty making out the words as he was crying. He did make the words out though and managed to pull himself together after that bit. It wasn't obvious though that it was Dayton crying and not Billy to first time viewers; he was very professional throughout the show. At least he didn't start crying in Express or Angry Dance or something, haha.

I was there that night too and still have a review due. :D Dayton semi-apologized at stage door for crying at that point. Of course for those of us who love the extra tears in a last night performance, if only because they reflect our own sadness to see someone leave the show, he had no reason to apologize. They certainly made me start crying too.

I was expecting "see ya, Dayton" and "see ya, Neil" but they didn't use their own names. Does this not happen anymore, because I know that it used to. I don't think that first time viewers would mind as long as they knew it was his last show.

Was disappointed about that too. Not sure what's going on but we want it back in!!!!!!!!!

And so the Aussie Invasion of Broadway ends. But it's not the last we'll be seeing of these uber-talented boys. They will go on to great things. And Billy was just the beginning.
Here's to you, Dayton.

Amen again! The Aussie boys on Broadway have been nothing short of WONDERFUL!!! Maybe Daniel is it? will move from the tour onto the Broadway stage. But yes, either way, Billy is just the beginning and Michael D. and Dayton's careers will assuredly be as charmed as they have already evidenced themselves to be! And I--with you I'm sure--will be "with them, through everything"!!!
Thanks again for a GREAT review!
Sean/angelenroute

"Good writers define reality; bad ones merely restate it." -Edward Albee
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Re: December 2010 Reviews - NYC

Post by angelenroute »

reactions from me in blue below
Moby-Dick wrote:Indeed, I had been away from the Imperial for nearly a year (which, I promise you, is a very long time for an addict living just a subway ride away).

:shock:

no, seriously, :shock: almost a year?????? :shock:


...there’s always a rush of excitement when Dad drags young Billy onto the stage. There’s always that sense of eager anticipation as you await the unfolding of this young figure’s prowess and skill as the show progresses from this first scene right up to the very end.

love it! so well put! it's always a rush for me at that point too, and very often you'll hear the word "stars" RIGHT when Billy is center stage...look out for that one next time :)

Peter, with his wiry limbs and mop of brown hair, looks to the audience to be both a sensitive and fragile-looking Billy, which makes his initial line, “F*cked if I know” seem at first so unexpected. These four syllables always get a chuckle from the audience, and I think they set a good example of the dichotomy in Billy’s character: tough but caring, silly but sensitive, confused but hopeful.

you get As on all your papers at school, don't you? showoff! ;) very well put!!!


Am always looking forward to seeing each Billy’s unique take on boxing, and Peter’s “boxing” moves certainly did not disappoint. At once ridiculous and endearing, he got a lot of laughs from the audience.

Since I still haven't written my review of a Peter-Alex show from October, I appreciate the reminder--Peter's moves during this made me laugh a lot!

...Emily Skinner does a solid job playing Mrs. Wilkinson and is great with capturing the essence of the character; however, I must offer up one complaint: the enunciation of in her singing and line delivery. Had this been my first time seeing the show, I would have had a difficult time understanding what she was saying, especially if I was not familiar with the story...

I have had the same problems with Emily's pronunciation but I can attest that she has improved after some criticisms may have reached her on this AND she is better after seeing her multiple times simply because once you're used to her, you are reminded that anyone who plays the role is delightful to watch because the character herself is so well written and formed...and the impression I get is that most first-time audiences love her because they love the role, so it becomes inconsequential...she DOES have her issues with the lines, and first and second-time Billy fans will catch them all, but most regular first-time-seeing-the-show types won't, and that's what matters most.

I was sorry not to see the beloved Tessa Netting in the role of Susan Parks, but I must say, her substitute did a most excellent job. While they are by no means twins, I must say there is a surprising similarity between the two – and it’s not just the hairdo.

I have to make sure to comment on this. Because the effervescent Tessa Netting is as kick-assedly awesome as she is, the Susan Parks role on Broadway has unofficially become 50% Tessallent. That is to say, no one can perform the role quite the same and if they attempt to, they must try their best to meet Tessa's own flare, something no one will ever match, but their attempts are just as delightful to enjoy. Susan Parks is a fun role and meant to get laughs from the audience, but Tessa made Susan famous as it were, and why anyone now playing the role in Tessa's absence must, I repeat MUST add that awesome, Tessarrific touch. :D


Whenever I find that the audience seems a bit slow to warm up to the show, Michael’s skirt-clad figure never fails to thaw whatever remaining vestiges of stiffness there may be among the viewers.

haha very true!

Mr. Braithwaite's new motorcycle jacket is a bit on the random side, but Thommie makes it work. He is such an amazing presence during this number, and I could spend an absolute age singing Thommie Retter's praises. His acting, his dancing, and his wonderful presence on the stage had the audience laughing hysterically, and boy did they love him!

Like Tessa, Thommie has taken his role and pumped as much adrenaline and spirit into it as can be imagined. It's already an awesome role, but Thommie adds sooooo much. One of my favorite moments is when he puts his leg up on top of the piano. Not only is the feat itself impressive, but the chin-up look he always has on his face during this and the various de-clothing moments is just one-of-a-kind awesome. He's sooooooo good!!!

(Angry Dance)...If only we could all exude such talent in our anger.

* :D :D :D *

Intermission is always exciting when you've brought friends to see the show with you. Going in, my friends all knew that I had seen the show more than once; and my sincerest hope was for them to acquire at least a small grasp of just why I kept finding myself back at the Imperial. So needless to say, there was a considerable sense of both excitement and trepidation as I awaited feedback from my friends.

I know this exact moment/mix of emotions all too well. Many times have I given halfway glances at my first-timer friends and family, not wanting to push but also wanting desperately to know what they think so far. :D


(Merry Christmas, Maggie Thatcher)

At the start of this scene, Joel briefly broke character to inform us that Peter had a bit of a "bug" and would be replaced by the talented Alex Ko. This announcement left me feeling both happy and sad: happy to have the chance to see Alex but also sad that I wouldn't be able to see the rest of Peter's performance. But, as they say, the show must go on.

Having been through this (although I'd already seen Alex before, and by the way, you MUST catch Alex's first half at some point because he's extra funny in it IMHO) I remember this emotion well, and of course the worry that the audience would not be able to follow their enthusiasm knowing it was suddenly a different boy on stage now.

When I saw Alex dance, grace was written all over the stage. He was, in a word: amazing.

Agreed!!! LOVE HIM!!!


As time as worn away some of the clarity of my memory, I might be mistaken in stating that it was here in this scene where I noticed that Alex was still wearing braces on his knees. Of course, to those unaware of his previous injury, I'm sure it went unnoticed. For me, however, seeing those braces on his knees was just another testament to the effort and sacrifice that goes into performing this show.


Well put!!! And as I've learned, the braces are not a reflection of injuries but of avoidance of future injuries. More importantly, they may look at first like hindrances but are instead protection for him as he does totally amazing things in his dances!


This was my first time seeing Drew McVety in the role of Posh Dad, and the goofy grin that he kept plastered to his face certainly did its job in tickling the audience with laughter. I must say, the exchange between him and Jackie Elliot went on for a bit longer than I'm used to (to make room for Jackie's reactions to Posh Dad's perennially over-sunny face, I suppose), but the audience chuckled the whole way through.

It's a testament to Greg and to Drew that they can hold our attention as long as they do! Both do an awesome job in this show stopping few minutes of live theatre!

Alex's tap-tap-tapping of the letter certainly had the intended effect on my friend, who excitedly whispered to me, "Just open the letter already!" - which I found to be a very appropriately antsy reaction. :lol:

I think it was Kiril who told of a time when he was doing this and a young boy from the audience who knew the show yelled out from his seat, "Just open it for Christsake!" which made Kiril and the other actors as well as the audience burst into laughter. :D :D :D

While there are varying opinions regarding the most appropriate moment in which to conclude the show, I must say that my friend seated next to me was a big fan of the Finale. Her response? "Yay! More dancing!"


I know of one Billy super fan who told me his favorite number in the show is the Finale. When he told me that I thought to myself, "How sad that he has to wait that long to see his favorite number!" but I think it's really just a testament to how great the number is. It's also a testament to why you Moby Dick need to attend the next Thommie Retter workshop!!! ;)


One of the best comments was from a friend who said, "I can see why you've seen this more than once".

I think one or two or dozens of people have said this to me too. ;)


Broadway is blessed to have this amazing ensemble of talent, and I think we all realized how privileged we were to have witnessed it. I, for one, left the theatre feeling legitimately warmer and light inside. It made me wonder how I managed to stay away from it for so long. Unfortunately for my wallet but fortunately for me, I'm pretty sure I'm going to be finding myself back in line at the Imperial a few ( :lol: ) more times in these coming months.

Thar she blows! The White Whale is swimming back to the Imperial.

x
M-D

Yay! I completely understand the money issue as it's a huge deal for me as well. I've resigned myself to one change I need to make though. It sounds simple enough, but sometimes you have to just do it: If you want to live at a certain level, you have to work hard and make the money to live at that level.

Hope to see you at a show again soon, or just see you again soon! Thanks for an AWESOME review!!!

Sean


"Good writers define reality; bad ones merely restate it." -Edward Albee
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Re: December 2010 Reviews - NYC

Post by Todd »

angelenroute wrote:I for one would love more cursing and I know I'm not alone in that. But I trust the Broadway company has done their due diligence and tested all they can on that. Unfortunately for us, Americans are stuck up. Funny how the land of the free, a country founded on rights and freedoms, has got such a big stick up its astronaut.[/color]
Interesting thoughts on this, Sean. I think you're right about the producers doing their homework and being "in tune" with what they feel like the audience will tolerate when it comes to the amount of cursing. For example, there's more of it in the London show, a bit less in the Broadway show, and a whole lot less on the national tour. I can only assume that they felt like the show might not be as well-received in the mid-west and southern cities of the tour unless they toned down the language. Whether they arrived at this by audience feedback in Chicago or just made the assumption that the mid-west and south are more conservative and might not appreciate the harsh language, I don't know.

Speaking on behalf of those who appreciate less cursing, I guess I don't see it as a case of being stuck up or having a stick up our you-know-whats. I think the whole freedom of speech thing has gotten pretty twisted around from its original meaning. Somehow I don't see the founding fathers as wanting to make sure they guaranteed us the right to shout profanities from the rooftops ! With all freedoms, there are limits . . .as well as the need to consider the feelings of people who might not care to hear everyone else's 4-letter words.

Sorry to digress into a discussion on constitutional interpretation. We can agree to disagree on the language issue, but I imagine we agree on the fact that the show is supposed to reflect life in a hardscrabble British mining town, which explains the colorful language. Given the producers' wish for authenticity, I must say I'm a little surprised that they were willing to soften the swearing. I guess there's a fine balance between staying true to their original vision and making sure the show sells tickets !
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