Schenectady reviews

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ERinVA
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Re: Schenectady reviews

Post by ERinVA »

I am looking forward to seeing the changes that have been detailed in these reviews.

The change to Copacabana is an interesting touch. I imagine the Brazilians will get a kick out of it. :D
Ellen



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tomtorfan
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Re: Schenectady reviews

Post by tomtorfan »

Several reviewers have commented about the newly “muscular” take that was much in evidence during this past week’s performances in Schenectady.

Rich Hebert’s Dad is louder, angrier and more confrontational than he’s ever been. I do think that the imminent tour stop in Brazil is behind this. With so many in the audience not likely to be fluent enough to follow the English script (let alone the Geordie script), I think the creatives have decided to ramp up the key scene where Dad barges in on Billy and Mrs. Wilkinson. While I’m guessing there will be some kind of subtitle/translation service available (as some opera companies provide), I think the powers-that-be know that the visual cues of Dad’s anger will have to be that much more evident. This past weekend, Rich was practically ripping the shirts off the three Billys as he tossed them around like rag dolls in Mrs. W.’s dance studio.

Another pre-Brazil touch: At one show, during the crowbar scene, Dad calls out Tony for behaving like (South American-born) Che Guevara.

Atreyu, muck912, kport, and michaelj have all commented eloquently on the stellar performances turned in by Drew, Noah, and Mitchell. No argument here. The boys were flawless. Allow me to add observations from each of the three shows I saw to underscore that. Not surprisingly, each revolves around key emotional moments in the show.

And each one was completely unexpected.

Friday night: Noah
No aerials from Noah on this night. Just more great acting and a singing voice that ranks among the best in Billydom, past and present.

During each letter scene, Noah delivered his usual: a heart-rendering weepfest that was deeply affecting. But what I found even more astonishing on this night was how he was able to sing so beautifully while in full-on weep mode...articulating every painful word with clarity and passion. It’s the 8th wonder of the musical theater world. Amazing.

It seems to me that all three Billys are making an effort to ramp up the emotional impact of their performances. And that focus pays off. The Schenectady audiences really responded.

Here’s more evidence of that:

Saturday matinee: Mitchell
Muck912 referred to Mitchell audibly sobbing as he made his way up the aisle with his suitcase. He made it almost to the back door before Cameron yelled out his “Oy...dancin’ boy!” Many in the audience would have seen Mitchell’s tears, so that may explain the reaction to what followed. When he ran back to give Cameron the going-away peck on the cheek, something extraordinary happened....

The audience burst into applause.

In all the shows I’ve been to (and other Forum members I talked to said the same), I have never seen applause at that point. A powerful testament to the emotional power of the Mitchell/Cameron duo.

Saturday evening: Drew
Just when you think Drew’s dancing in Electricity can’t get any better, he surprises. Like that triple spin? How about another? Back to back. Perfect execution. Arms extended over his head during multiple pirouettes. Incredible. But I digress.

This performance’s unexpected highlight also came during the Billy/Michael goodbye. As Drew walked to the end of the stage, he turned to Jake to give the usual “See ya, Michael.”

But this time, Drew was so emotionally wrapped up in his character that he was literally crying the words.

Some may think this might merely be a carryover from the just completed final letter scene with Dead Mum. But I don’t think so. In an earlier review of an earlier performance in the week, muck912 observed that Drew had no tears when he first made his way up the aisle with his suitcase...but had tears when he came back from the goodbye kiss. I could be wrong, but it looks to me like Drew has decided to play this final scene with as much emotion as the letter scenes. And god does it work!

One final point about Drew’s performance. He’s a deliberate, thoughtful actor who doesn’t rush any of his lines. He’s careful to let applause and laughs die away before uttering a line that would otherwise be buried. At the start of Electricity, when his character is asked what he feels like when he’s dancing, Drew takes a good five seconds before beginning...then takes another five seconds before continuing with his next line. All through the pre-dance part of Electricity, the musical director is waiting for Drew’s cue.

What other musical would let...would trust...a 13-year-old to set the pace for the most important number in the show?

Yet another thing to love about BETM.
We will find a new tomorrow
When we come to rest at last...
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porschesrule
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Re: Schenectady reviews

Post by porschesrule »

I can't let your comments go by without an appreciative word, tomtorfan. It certainly does seem like these changes in performance, especially by the Billys, while partially the obvious result of their experience as they grow in the role, have a more deliberate feel to them -- almost as if they are wanting to put their stamp on their portrayals of the role and assure that this tour show will "go out with a bang".

Thanks, tomtorfan (and also muck912, kport, atreyu and michaelj) for sharing your very poignant observations.
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Yorkie
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Re: Schenectady reviews

Post by Yorkie »

tomtorfan wrote:Another pre-Brazil touch: At one show, during the crowbar scene, Dad calls out Tony for behaving like (South American-born) Che Guevara.
In the London show Tony wears a Che Guevara t-shirt in one scene (I think the crowbar scene). I assume he doesn't wear this in the States (knowing how Che and Castro are viewed in the US) - or does he?
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BEtourfan
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Re: Schenectady reviews

Post by BEtourfan »

Yorkie wrote:
tomtorfan wrote:Another pre-Brazil touch: At one show, during the crowbar scene, Dad calls out Tony for behaving like (South American-born) Che Guevara.
In the London show Tony wears a Che Guevara t-shirt in one scene (I think the crowbar scene). I assume he doesn't wear this in the States (knowing how Che and Castro are viewed in the US) - or does he?
Tony does wear the Che Guevara t-shirt in the US Tour.
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jdmag44
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Re: Schenectady reviews

Post by jdmag44 »

Thanks, muck912, kport, atreyu tomtorfan, and michaelj
I don’t think I have ever enjoyed a series of reviews as much as these Schenectady reviews
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Re: Schenectady reviews

Post by Yorkie »

BEtourfan wrote: Tony does wear the Che Guevara t-shirt in the US Tour.
Interesting, I would probably have bet that he didn't! Wearing the t-shirt though does make complete sense for dad calling Tony "Che"
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ERinVA
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Re: Schenectady reviews

Post by ERinVA »

Based on these reviews, it seems to me that the cast are determined to depart the US on a real high point.
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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michaelJ
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Re: Schenectady reviews

Post by michaelJ »

Just a little bit of trivial information: the song "Copacabana" is titled "Lola" on the orchestra's sheet music.
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Re: Schenectady reviews

Post by kport »

michaelJ wrote:Just a little bit of trivial information: the song "Copacabana" is titled "Lola" on the orchestra's sheet music.
One hopes it is not to be confused with 'Lola' by the Kinks (though that 'Lola' might not be entirely out of context with some aspects of BETM, such as 'Expressing Yourself').


'Girls will be boys and boys will be girls
It's a mixed up muddled up shook up world except for Lola
Lo-lo-lo-lo Lola'

Imagine if Jackie sang that!
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