September 2010 Reviews - Chicago

Todd
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Re: September 2010 Reviews - Chicago

Post by Todd »

gpcolo wrote: I was able to get a left side obstructed view ticket for $25 just a few hours before show time.
Just curious about how obstructed it was, as I have a Row C seat on the left side (next to the aisle Billy walks down at the end) for the October 9 evening show. Not sure if it's technically considered an obstructed view seat, although it was half-price of what the premium seats are right across the aisle, so I was wondering if it was cheaper because there was some sort of obstruction (like not being able to see the actors' feet).
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Re: September 2010 Reviews - Chicago

Post by mrmikerocks »

Todd wrote:
gpcolo wrote: I was able to get a left side obstructed view ticket for $25 just a few hours before show time.
Just curious about how obstructed it was, as I have a Row C seat on the left side (next to the aisle Billy walks down at the end) for the October 9 evening show. Not sure if it's technically considered an obstructed view seat, although it was half-price of what the premium seats are right across the aisle, so I was wondering if it was cheaper because there was some sort of obstruction (like not being able to see the actors' feet).
What is the seat number in row c?
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ERinVA
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Re: September 2010 Reviews - Chicago

Post by ERinVA »

I have sat over there, and the view seemed fine to me. Even if you sit all the way over on the outside aisle, you should be fine. I have never bought a premium seat in my life!

Usually, the $25 day tickets are up in the boxes, and those could be considered obstructed, but none of the orchestra seats anywhere in the theatre are listed as partial view by ticketmaster. I have a friend who bought one of the day seats, and she actually said she had a good view from the very top box on house right.
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gpcolo
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Re: September 2010 Reviews - Chicago

Post by gpcolo »

You miss very little from the seats on the left and certainly none of the major moments in the show. What you don't see is the far left wall and I couldn't see the male dancers going through the windows during Grandma's song or Dad,Tony, and Grandma lined up waiting to see the Royal Ballet letter. I like the left side because of seeing the kids going down those aisles and seeing Billy's reaction as he leaves at the end going up the left/center aisle--always emotional. You do not get to see Billy's face during the letter scene with Mum or during Grandma's song which is the advantage to sitting on the right.
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Re: September 2010 Reviews - Chicago

Post by Todd »

mrmikerocks wrote: What is the seat number in row c?
We have seats 1, 3, and 5 in Row C. Not all that far to the left, actually - since we're right next to the aisle that Billy walks down at the end of the show - but I was wondering more about being so close to the stage since I know the Oriental Theater stage is pretty high.
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Re: September 2010 Reviews - Chicago

Post by Todd »

ERinVA wrote: none of the orchestra seats anywhere in the theatre are listed as partial view by ticketmaster.
The ticketmaster folks have apparently never sat in the 1st or 2nd row from the stage over on the far right side by the wall ! That was my seat at the Oriental Theater about 4 years ago when I saw "Wicked" when it was playing there. I enjoyed saving the money (since those seats were only about $45 apiece) but about a third of the stage on the right side was obstructed from view from where I sat.
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ERinVA
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Re: September 2010 Reviews - Chicago

Post by ERinVA »

It's higher than the Imperial stage, but not as high as the VP stage. I sat in orchestra C 5, and I considered it a great seat.
Ellen



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Re: September 2010 Reviews - Chicago

Post by chi-towngirl »

I have sat in C2 (on the other side of the auditorium) and I think you'll find it is not at all obstructed, but you do start losing the performer's feet because the stage is so high. I think the first row that does not slightly obstruct the legs/feet is row E (although that may not be the case if you are taller than me...), but so much of the show takes place downstage in front of the proscenium, it is hardly an issue-- and the chance to see faces up close is well worth it.
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Re: September 2010 Reviews - Chicago

Post by chi-towngirl »

This has taken me a long time to get around to, but I wanted to add just a few comments to the previous reviews about Emily Skinner and Blake Hammond's last show last week.

Sunday, 9/19

Billy : Tommy
Michael: Keean

Opening: It seems strange to hear the line change coming from Tommy, for as many times as he has performed Billy, "I don't bloody know" just sounds.... strange.

Boxing: There was something on the far side of the stage on the ground at the start of this scene.... I couldn't see it because I was close to the stage and on the opposite side... I don't think it was the bread from the kitchen scene, but whatever was on the ground, during the push-ups, Keean took off his boxing gloves and was trying to shove pieces of... I don't know what..... into his gloves to get it off the stage. Later into the scene when Billy, Michael and George start their bit center stage, tall boy Spencer came over and discreetly picked up the rest of whatever was there on the ground.

Shine: There are always lots of small details here, but quite a few more winks, nudges, and sentimental looks between Emily Skinner and each of the ballet girls.

Solidarity: Right after Billy does the chaine turns down the diagonal, and Mrs. W. walks away confused, Emily Skinner does a double take/backward glance, sort of "did he just do that"? Today when she looked back at Tommy, he gave her a huge, goofy grin-- sort of "hey, look what I can do"!

Express: Keean and Tommy are such old pros in this scene, their delivery is unbelievable. They had the audience loudly cheering for this one.

B2B: Flawless today, a nice way to finish it out for Blake and Emily with no mistakes. Tommy hit Mr. B really hard on the head during "lets start from the beginning". Tommy literally flies off the piano with his flip. The buttoning of the jacket after was very emotional and tender. Tommy grabbed Mrs. W so forcefully when he went to hug her he almost knocked her over.

Kitchen before Angry Dance: Here's another small line change: When Mrs. W first enters she says "Hello". George used to answer her back "well, Helloooooooo!", and it always got a laugh. They cut his line, so now she is just met with hostile silence-- I think it works really well and fits the moment. Mrs. W and Tony were seriously in eachother's faces today, even more so than usual.

Angry Dance: I've been waiting for this to happen-- Tommy kicked the wall off the hut. Not completely, but the top half completely sagged away, and an ensemble member stopped what he was doing and ran over to hold it up for the remainder. I've seen so many hut mishaps.... would love to see this re-worked somehow. The ending of Angry Dance was positively frenetic, Tommy was throwing his head around like I've never seen.

Deep into the Ground: Keean and Will Mann (Big Davey) are always up to something at the beginning of this song, while they are mostly hidden on the steps. Today Will took off Keean's beanie hat and put it on (and Will is a big guy-- the hat was sticking up on top of his head and about a million times too small) and then keean was messing with him and trying to get his hat back. ( Now that Will is Mr. Braithewaite permanently he won't be at the back of the stage anymore, so this show was the last time for them to goof around together at this part. )

Winter Scene: Another line change-- Billy's line "I know, it's been a right load of sh**e" has been completely cut. Now he just says "I know, all I got was an atlas from the university support group". It sounds choppy to me-- it feels like a line is missing. Michael is still walking toward him at this point, so it doesn't feel like Billy is speaking to him. I think they need to add a line so it is not so choppy-- if they are dead set against "sh**te" he could just say its been "rubbish" or something... I don't know, I miss the old line...

..... Tommy broke Barbie's leg off! This may have been one of the most priceless scenes I have ever witnessed-- and a testament to their professionalism-- I was cracking up in my seat. I was row D far to the right, so I had a perfect view of Tommy's face. He was doing the normal bending Barbie back and forth, then all of a sudden, the leg broke off in his hand! He turned back to Keean with this look on his face-- perfectly in character for Billy, sort of "OH NO, what have I done?" and yet there was a little glint in his eye, Tommy, not Billy, trying his hardest not to crack up. Keean had the perfect response: A long, deep, gutteral "NOOOOOOOOOOOOOOOO!" and I was crying in my seat! Keean spent the rest of the scene tenderly trying to put her back together.

Final scenes: The final scene with Billy and Mrs. W., as noted before, was very emotional. Emily Skinner's voice was definitely wavering, but no actual tears. She and Tommy have such a great connection and bond in their scenes together, this one was very touching and memorable. The bows were super animated, lots of hugs all around. Immediately after the curtain came down, there were thunderous cheers and applause coming from the cast back stage-- the audience was turning around to see if there was yet another encore because so much noise was coming from the stage.

All in all, a very memorable leaving show, and I would like to add to the well wishes for these amazing cast members that have brought so much to the Chicago production!
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ERinVA
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Re: September 2010 Reviews - Chicago

Post by ERinVA »

..... Tommy broke Barbie's leg off! This may have been one of the most priceless scenes I have ever witnessed-- and a testament to their professionalism-- I was cracking up in my seat. I was row D far to the right, so I had a perfect view of Tommy's face. He was doing the normal bending Barbie back and forth, then all of a sudden, the leg broke off in his hand! He turned back to Keean with this look on his face-- perfectly in character for Billy, sort of "OH NO, what have I done?" and yet there was a little glint in his eye, Tommy, not Billy, trying his hardest not to crack up. Keean had the perfect response: A long, deep, gutteral "NOOOOOOOOOOOOOOOO!" and I was crying in my seat! Keean spent the rest of the scene tenderly trying to put her back together.
Oh my gosh! That is priceless! :lol: :lol:
Ellen



"I don't want people who want to dance; I want people who have to dance.”
-George Balanchine 1904 -1983


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