NYC - Seven Shows in Five Days - Spring Break 2014
Apr 5th, 2014 | 06:15 PM
#42
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Joined: May 2005
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SHOWS: #4 - TUESDAY NIGHT
AFTER MIDNIGHT
Brooks Atkinson Theatre
256 W. 47th St. (between Broadway and 8th)
90 minutes
http://aftermidnightbroadway.com/
http://ppc.broadway.com/shows/after-midnight/
reviews: http://www.broadwayworld.com/reviews...t#.U0C23oXZdVA
Our evening play was After Midnight. Our seats were a bit unusual (to me). They were in the second part of the mezzanine with an aisle in front of us. The seats were high enough above the section of seats in front of us that none of them blocked our vision. We had great sight lines, a good view of the entire stage, and we were close enough to be able to see well. However, as a disclaimer, there was a railing in front of us which made for little knee room. I am not tall and I could not cross my legs. One of our ticket #'s was FMEZZ row D seat 113. I think that mezzanine seats might be better than main floor since the action was not often centered on one person, but instead on the entire stage.
The premise of the show was that it was Harlem in the 30's. Days were glum because of the lack of jobs, but after midnight life lit up.
(small spoiler) There wasn't really much of a book; instead the show has been described as like being at a night club. That is an apt comparison in that Ice Cube gave a little soliloquy at the beginning and end and that was about it for the story. It also put me in the mind of a 60s TV variety show. However, I can't imagine any night club (or 60s TV variety show for that matter) with the amount of talent that we saw all in one show.
A talented orchestra (with 17 hand-picked world-class jazz musicians) was at the rear of the stage. The singing was good, the dance numbers were awesome. At the end, there was a huge dance number as the cast all reentered the stage. I had assumed that many of the dancers had played dual roles and was surprised at the size of the cast.
The show featured both Toni Braxton and Ice Cube when we were there. Those spots rotate and neither are there now. Toni did a fine job, but I would have liked to have seen Fantasia or k.d. lang. According to the website, Fantasia will be coming back.
If you are interested in the show, but still unsure whether you might like it, there is a video on the first website that I listed that gives a good sampling.
AFTER MIDNIGHT
Brooks Atkinson Theatre
256 W. 47th St. (between Broadway and 8th)
90 minutes
http://aftermidnightbroadway.com/
http://ppc.broadway.com/shows/after-midnight/
reviews: http://www.broadwayworld.com/reviews...t#.U0C23oXZdVA
Our evening play was After Midnight. Our seats were a bit unusual (to me). They were in the second part of the mezzanine with an aisle in front of us. The seats were high enough above the section of seats in front of us that none of them blocked our vision. We had great sight lines, a good view of the entire stage, and we were close enough to be able to see well. However, as a disclaimer, there was a railing in front of us which made for little knee room. I am not tall and I could not cross my legs. One of our ticket #'s was FMEZZ row D seat 113. I think that mezzanine seats might be better than main floor since the action was not often centered on one person, but instead on the entire stage.
The premise of the show was that it was Harlem in the 30's. Days were glum because of the lack of jobs, but after midnight life lit up.
(small spoiler) There wasn't really much of a book; instead the show has been described as like being at a night club. That is an apt comparison in that Ice Cube gave a little soliloquy at the beginning and end and that was about it for the story. It also put me in the mind of a 60s TV variety show. However, I can't imagine any night club (or 60s TV variety show for that matter) with the amount of talent that we saw all in one show.
A talented orchestra (with 17 hand-picked world-class jazz musicians) was at the rear of the stage. The singing was good, the dance numbers were awesome. At the end, there was a huge dance number as the cast all reentered the stage. I had assumed that many of the dancers had played dual roles and was surprised at the size of the cast.
The show featured both Toni Braxton and Ice Cube when we were there. Those spots rotate and neither are there now. Toni did a fine job, but I would have liked to have seen Fantasia or k.d. lang. According to the website, Fantasia will be coming back.
If you are interested in the show, but still unsure whether you might like it, there is a video on the first website that I listed that gives a good sampling.
Apr 6th, 2014 | 05:45 AM
#43
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Joined: May 2005
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SOMETHING TO KNOW - THURSDAY MATINEES
There are now a few matinees available on Thursday. They didn't start until this past week, so we were not able to take advantage of it. Right now, there are only three choices: Cinderella, Mama Mia, and Phantom. I think it is a great idea and hope it catches on.
http://www.thursdaymatinees.com/
There are now a few matinees available on Thursday. They didn't start until this past week, so we were not able to take advantage of it. Right now, there are only three choices: Cinderella, Mama Mia, and Phantom. I think it is a great idea and hope it catches on.
http://www.thursdaymatinees.com/
Apr 6th, 2014 | 06:22 AM
#44
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Joined: May 2005
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SHOWS: #5 - WEDNESDAY MATINEE
KINKY BOOTS
Al Hirschfeld Theatre
302 W. 45th
2 hr 20 min 15 min intermission
http://kinkybootsthemusical.com/about.php
I included the following information above: For Kinky Boots, I picked the Wednesday matinee thinking that the seats might be better for that performance. I picked two that were limited visibility - but close and on the aisle (a preference of my husband). They were on the outer left aisle (looking at the stage) and at a nice distance. I think our two seats might not have been there originally. Although they matched the other seats, there was a slight distance (an inch or two) between them and the rest of the row. Plus the row in front of us was shorter and there was no one in front of our aisle seat. They might not have been the absolute best seats in the house since we were at a pretty steep angle from the center of the stage and we may have missed some action at the back left of the stage. However, they were awfully good and we got them only a week before the show. I did notice later that the TKTS booth had tickets for this performance. I don't regret getting them in advance though, that's for sure. Our tickets were assured and were good seats.
While standing in line, we chatted with a couple from Ohio who commented that the seats were so hard to get that their daughter (who they were visiting) had come to the city to pick up tickets at the box office. I didn't have the heart to tell them that we bought our tickets online and got discounted seats. I also talked to someone in a line for another show who commented that she'd like to see Kinky Boots, but that the tickets were too expensive. Well they weren't cheap, by any means, but by Broadway standards, they were within reason. The cost below includes the extra fees for buying them online.
2 Ticket(s), LEFT ORCH PRTL VIEW Row H, Seats 19-21 Total Cost: $233.75
Tip: I don't think the show was appropriate for little kids. I chatted with a darling 6 1/2 year old girl before the play. She was there with her mother, another mother, and another little girl. During intermission, I got the impression that the mothers were chatting about how to respond to something one of the little girls said. (They were near me and I got just a snippet.) I don't know what the child said, but I can envision a child later repeating, "Red is sex!" without understanding what it meant. The show was fabulous, but some of the topics were not appropriate for young children and others were awfully deep, in my opinion, for the very young.
Things I liked about Kinky Boots:
the staging,
the costumes,
the dancing,
the singing.
the moral.
Things I didn't like about Kinky Boots:
What is there not to like?
Well evidently not much as Kinky Boots won:
Best Musical
Best Original Score (Cyndi Lauper)
Best Performance by an Actor in a Leading Role in a Musical (Billy Porter)
Best Choreography (Jerry Mitchell)
Best Orchestrations (Stephen Oremus)
Best Sound Design (John Shivers)
The book was written by four-time Tony winner Harvey Fierstein. (He didn't win the Tony - the author of Matilda the Musical won that one.)
And that is why we really wanted to see it.
That said, I think I mentioned above that we chatted with someone that evening who asked how we liked it. She said she had been disappointed because, with all the hype, her expectations were hard to meet. So keep that in mind if you go.
It is always amazing how something as small as a stage can be transformed into a set that takes you to the world of the play. Plus it can be changed into more than one world in seconds. Kinky Boots did not disappoint.
The costumes were a mixture of spot on (the factory workers) and fun and fabulous (the cross dressers).
The dancing was terrific and I won't spoil the surprise by mentioning one of my favorite numbers that involved using the set in a unique way.
The songs and singing were wonderful. I can certainly see why Billy Porter won a Tony. Oh my word, he was (do I need to get out my thesaurus?) amazing.
And, when all was said and done, the show was not just fun, it was meaningful and thought-provoking.
With so many of the shows, I just wish that I could watch them a second time so that I could remember more of the words and details.
KINKY BOOTS
Al Hirschfeld Theatre
302 W. 45th
2 hr 20 min 15 min intermission
http://kinkybootsthemusical.com/about.php
I included the following information above: For Kinky Boots, I picked the Wednesday matinee thinking that the seats might be better for that performance. I picked two that were limited visibility - but close and on the aisle (a preference of my husband). They were on the outer left aisle (looking at the stage) and at a nice distance. I think our two seats might not have been there originally. Although they matched the other seats, there was a slight distance (an inch or two) between them and the rest of the row. Plus the row in front of us was shorter and there was no one in front of our aisle seat. They might not have been the absolute best seats in the house since we were at a pretty steep angle from the center of the stage and we may have missed some action at the back left of the stage. However, they were awfully good and we got them only a week before the show. I did notice later that the TKTS booth had tickets for this performance. I don't regret getting them in advance though, that's for sure. Our tickets were assured and were good seats.
While standing in line, we chatted with a couple from Ohio who commented that the seats were so hard to get that their daughter (who they were visiting) had come to the city to pick up tickets at the box office. I didn't have the heart to tell them that we bought our tickets online and got discounted seats. I also talked to someone in a line for another show who commented that she'd like to see Kinky Boots, but that the tickets were too expensive. Well they weren't cheap, by any means, but by Broadway standards, they were within reason. The cost below includes the extra fees for buying them online.
2 Ticket(s), LEFT ORCH PRTL VIEW Row H, Seats 19-21 Total Cost: $233.75
Tip: I don't think the show was appropriate for little kids. I chatted with a darling 6 1/2 year old girl before the play. She was there with her mother, another mother, and another little girl. During intermission, I got the impression that the mothers were chatting about how to respond to something one of the little girls said. (They were near me and I got just a snippet.) I don't know what the child said, but I can envision a child later repeating, "Red is sex!" without understanding what it meant. The show was fabulous, but some of the topics were not appropriate for young children and others were awfully deep, in my opinion, for the very young.
Things I liked about Kinky Boots:
the staging,
the costumes,
the dancing,
the singing.
the moral.
Things I didn't like about Kinky Boots:
What is there not to like?
Well evidently not much as Kinky Boots won:
Best Musical
Best Original Score (Cyndi Lauper)
Best Performance by an Actor in a Leading Role in a Musical (Billy Porter)
Best Choreography (Jerry Mitchell)
Best Orchestrations (Stephen Oremus)
Best Sound Design (John Shivers)
The book was written by four-time Tony winner Harvey Fierstein. (He didn't win the Tony - the author of Matilda the Musical won that one.)
And that is why we really wanted to see it.
That said, I think I mentioned above that we chatted with someone that evening who asked how we liked it. She said she had been disappointed because, with all the hype, her expectations were hard to meet. So keep that in mind if you go.
It is always amazing how something as small as a stage can be transformed into a set that takes you to the world of the play. Plus it can be changed into more than one world in seconds. Kinky Boots did not disappoint.
The costumes were a mixture of spot on (the factory workers) and fun and fabulous (the cross dressers).
The dancing was terrific and I won't spoil the surprise by mentioning one of my favorite numbers that involved using the set in a unique way.
The songs and singing were wonderful. I can certainly see why Billy Porter won a Tony. Oh my word, he was (do I need to get out my thesaurus?) amazing.
And, when all was said and done, the show was not just fun, it was meaningful and thought-provoking.
With so many of the shows, I just wish that I could watch them a second time so that I could remember more of the words and details.
Apr 6th, 2014 | 07:35 AM
#45
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Joined: May 2005
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ONLINE TICKETING - KINKY BOOTS
I ordered two sets of tickets before we left home, Beautiful and Kinky Boots. I opted for getting the tickets through email. The Beautiful tickets came right away. The Kinky Boots didn't - the information said it might take up to 4 days and we didn't have 4 days. The day before we left, I called Telewhatever and asked what to do. I was told that I could change the email ticketing to having the tickets held at the box office. I decided to wait until the last minute because I could call from NYC if necessary. They didn't come and when I happened by the box office, I stopped to see if they could change it for me or if I needed to call the toll-free number. They were able to take care of it.
Tip: If you need to go to the box office, try not to go within an hour or so of a show. There are long lines at those times. We went to 5 different box offices this trip and I don't think we had to wait at any of them because we went at non-peak times.
I was also impressed with the Kinky Boots people because they sent me an email before the show. It was FILLED with helpful information - location, map, running time, location of rest rooms, information about accessible seating, coat checks, and infrared headsets and more. It was wonderful and would be especially so for the many people for whom the play could be their first Broadway play.
It also suggested that the show was appropriate for ages 4 and up. Use your own judgment on that one. As we all know, different people have different opinions on age appropriateness and mine or theirs might not match yours.
I ordered two sets of tickets before we left home, Beautiful and Kinky Boots. I opted for getting the tickets through email. The Beautiful tickets came right away. The Kinky Boots didn't - the information said it might take up to 4 days and we didn't have 4 days. The day before we left, I called Telewhatever and asked what to do. I was told that I could change the email ticketing to having the tickets held at the box office. I decided to wait until the last minute because I could call from NYC if necessary. They didn't come and when I happened by the box office, I stopped to see if they could change it for me or if I needed to call the toll-free number. They were able to take care of it.
Tip: If you need to go to the box office, try not to go within an hour or so of a show. There are long lines at those times. We went to 5 different box offices this trip and I don't think we had to wait at any of them because we went at non-peak times.
I was also impressed with the Kinky Boots people because they sent me an email before the show. It was FILLED with helpful information - location, map, running time, location of rest rooms, information about accessible seating, coat checks, and infrared headsets and more. It was wonderful and would be especially so for the many people for whom the play could be their first Broadway play.
It also suggested that the show was appropriate for ages 4 and up. Use your own judgment on that one. As we all know, different people have different opinions on age appropriateness and mine or theirs might not match yours.
Apr 7th, 2014 | 03:43 AM
#47
Joined: Oct 2006
Posts: 36,842
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Jill_K, that same comment could be said about ANY show on Broadway. Not everyone likes the same things, but there has to be a reason that Newsies has been virtually selling out for two solid years and until only very recently starting offering discounts of any significance.
Personally I thought, for example that it has some of the most exciting choreography seen on Broadway today. And it won both the Drama Desk awards and the Tony for both music and choreography, so there are certainly some who think it has plenty to recommend it.
But is it overall an "old fashioned" big musical? Yes, and obviously not everyone likes those.
Personally I thought, for example that it has some of the most exciting choreography seen on Broadway today. And it won both the Drama Desk awards and the Tony for both music and choreography, so there are certainly some who think it has plenty to recommend it.
But is it overall an "old fashioned" big musical? Yes, and obviously not everyone likes those.
Apr 7th, 2014 | 04:41 PM
#48
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Joined: May 2005
Posts: 861
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Good points. I really liked Newsies when I saw it on a previous trip - especially the dance with the newspapers.
On the other hand, I did not like Cats, Spam-a-lot or Book of Mormon when I saw them.
Different people like different things.
So it helps to see if your tastes are similar when looking at someone's review of a play.
App idea - a Broadway play app that suggests plays depending on others that you like (or don't like). Netflix does it. Amazon does something similar. It seems like it would be even simpler for theater.
I'm not sure if I will get my next play up tonight or not. I work late on Mondays. In any case, there are only two plays left.
On the other hand, I did not like Cats, Spam-a-lot or Book of Mormon when I saw them.
Different people like different things.
So it helps to see if your tastes are similar when looking at someone's review of a play.
App idea - a Broadway play app that suggests plays depending on others that you like (or don't like). Netflix does it. Amazon does something similar. It seems like it would be even simpler for theater.
I'm not sure if I will get my next play up tonight or not. I work late on Mondays. In any case, there are only two plays left.
Apr 7th, 2014 | 07:41 PM
#49
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Joined: May 2005
Posts: 861
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SHOWS: #6 - WEDNESDAY NIGHT
IF/THEN
Richard Rogers Theater
226 W 46th St. - Between Broadway and 8th
2 hr 30 min - one intermission
ORCH L 12 & 14 $89
http://ifthenthemusical.com/
Our show for Wednesday evening was If/Then with Idena Mendel. Our seats were in the first row of a raised area of the main floor. Other than little knee space, the seats were perfect due to their closeness and height. Before the show, I chatted with a young woman near me from NY.
I loved the show. Idena was amazing as were all the other actors. I might have expected the top few to have great voices, but there were so many smaller parts that also had featured songs and wonderful voices. The stage had an huge diagonal mirror above and behind it that gave an interesting view of the action. Amazing score/book/concept.
(possible spoilers) This show was somewhat hard to follow, but fortunately I had read a tip in a review which helped. Idena's character, Elizabeth, has returned to NYC after a divorce. During the first scene, she has to make a seemingly minor choice. The rest of the play has a double story line with one line following what would happen if she made one choice and the other story line following her if she took the other choice. The tricky part is that it is hard to keep track of which story line she is part of at any one time and so it can be hard to follow the play. The tip that I read is that the lighting is red for one story line and blue for the other. There are sometimes transitions which a review said were colored in purple, but I'm not sure that is consistent. Also Elizabeth goes by Liz in the red story line and Beth in the blue story line. Her glasses may also be a clue, but I'm not sure of that.
My husband found the play confusing and didn't like it very well. (He had forgotten the red/blue tip.) I got confused about which path we were on during one of the scenes, but loved the play overall.
The reviews of the NY production weren't out when we saw it during the end of previews. They are now and are not as glowing as I felt about the play. One commented that most who see the play pick it because of Idena Menzel. I picked it when I learned that the book was written by the same person who wrote "Next to Normal" and I loved "Next to Normal." However, hearing Idena in person was huge. She is a real powerhouse singer.
I found the play thought-provoking. Small choices really can change our lives and our lives have millions of possible trajectories. I loved the score and think I might enjoy the play even more in a second viewing as I wouldn't be working quite so hard to make sense of the dual story lines.
IF/THEN
Richard Rogers Theater
226 W 46th St. - Between Broadway and 8th
2 hr 30 min - one intermission
ORCH L 12 & 14 $89
http://ifthenthemusical.com/
Our show for Wednesday evening was If/Then with Idena Mendel. Our seats were in the first row of a raised area of the main floor. Other than little knee space, the seats were perfect due to their closeness and height. Before the show, I chatted with a young woman near me from NY.
I loved the show. Idena was amazing as were all the other actors. I might have expected the top few to have great voices, but there were so many smaller parts that also had featured songs and wonderful voices. The stage had an huge diagonal mirror above and behind it that gave an interesting view of the action. Amazing score/book/concept.
(possible spoilers) This show was somewhat hard to follow, but fortunately I had read a tip in a review which helped. Idena's character, Elizabeth, has returned to NYC after a divorce. During the first scene, she has to make a seemingly minor choice. The rest of the play has a double story line with one line following what would happen if she made one choice and the other story line following her if she took the other choice. The tricky part is that it is hard to keep track of which story line she is part of at any one time and so it can be hard to follow the play. The tip that I read is that the lighting is red for one story line and blue for the other. There are sometimes transitions which a review said were colored in purple, but I'm not sure that is consistent. Also Elizabeth goes by Liz in the red story line and Beth in the blue story line. Her glasses may also be a clue, but I'm not sure of that.
My husband found the play confusing and didn't like it very well. (He had forgotten the red/blue tip.) I got confused about which path we were on during one of the scenes, but loved the play overall.
The reviews of the NY production weren't out when we saw it during the end of previews. They are now and are not as glowing as I felt about the play. One commented that most who see the play pick it because of Idena Menzel. I picked it when I learned that the book was written by the same person who wrote "Next to Normal" and I loved "Next to Normal." However, hearing Idena in person was huge. She is a real powerhouse singer.
I found the play thought-provoking. Small choices really can change our lives and our lives have millions of possible trajectories. I loved the score and think I might enjoy the play even more in a second viewing as I wouldn't be working quite so hard to make sense of the dual story lines.
Apr 8th, 2014 | 06:54 AM
#53
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Joined: May 2005
Posts: 861
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starrs - I'm not sure if the glasses clue was consistent and would be interested in you or one of your friends check that out and see. I also thought the lighting was inconsistent - but maybe that was because I had trouble telling that it was sometimes purple. I thought some of the transitions were either blue or red (I forget which now, but think blue).
LOL - Adele helped get her more press and that is a good thing. I have to admit that I somehow did not recognize her name until the Academy Awards. And now she seems like a household word.
familythattravels - Thank you. Sometimes it's hard to know if anyone is reading and if it is worth the time to post. So when there are replies, it is an encouragement to continue. And when there is something positive, more so.
LOL - Adele helped get her more press and that is a good thing. I have to admit that I somehow did not recognize her name until the Academy Awards. And now she seems like a household word.
familythattravels - Thank you. Sometimes it's hard to know if anyone is reading and if it is worth the time to post. So when there are replies, it is an encouragement to continue. And when there is something positive, more so.
Apr 8th, 2014 | 10:42 AM
#55
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Joined: May 2005
Posts: 861
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SHOWS: #7 - THURSDAY NIGHT
MOTHERS AND SONS
OUR LAST SHOW
Golden Theatre
252 W. 45th St.
90 minutes - no intermission
http://mothersandsonsbroadway.com/
Tip: I read just today that there will be a series of after-show talk-back sessions after Wednesday night performances in April.
http://www.broadwayworld.com/article...licy-20140407#
In a perfect world, I would have ended our trip with a show that was fun and upbeat and left me humming (or at least wishing I remembered one of the tunes well enough to hum).
Mothers and Sons was not that show. Since we needed to start home on Thursday and I wanted to squeeze in one more show, we picked the one that would end the earliest. M&S started at 7 on our Thursday night and only lasted 90 minutes, so it was the choice. As it turns out, it didn't start on time - probably because of the people waiting in line for the small bathrooms knowing that there was no intermission.
The theater was the same one where we saw Vanya et al last year. We were not as close, but our seats were good. The theater appeared to be full or very nearly so.
Mothers and Sons is a play, not a musical. Just so you know: there is no singing and dancing. The topic is serious, but there is also a lot of humor.
(possible spoiler) Tyne Dailey plays a mother whose gay son had died of AIDS twenty years earlier. She is in New York to return a diary to the man who was his partner when he died. In the ensuing years, the partner has married a younger man and they have a young son. The story was poignant, sad, and thought-provoking. The characters have depth and the conflict is varied. I could go on about how the play may make you see some unexpected things in a new light, but better to find that out for yourself.
Although the show was about a serious topic, it was also often funny. Tyne has impeccable timing and sometimes her pauses would speak volumes.
I noted that we picked this show for the last night since we were leaving afterwards and it would end the earliest. But perhaps it turned out better to leave with something to ponder.
MOTHERS AND SONS
OUR LAST SHOW
Golden Theatre
252 W. 45th St.
90 minutes - no intermission
http://mothersandsonsbroadway.com/
Tip: I read just today that there will be a series of after-show talk-back sessions after Wednesday night performances in April.
http://www.broadwayworld.com/article...licy-20140407#
In a perfect world, I would have ended our trip with a show that was fun and upbeat and left me humming (or at least wishing I remembered one of the tunes well enough to hum).
Mothers and Sons was not that show. Since we needed to start home on Thursday and I wanted to squeeze in one more show, we picked the one that would end the earliest. M&S started at 7 on our Thursday night and only lasted 90 minutes, so it was the choice. As it turns out, it didn't start on time - probably because of the people waiting in line for the small bathrooms knowing that there was no intermission.
The theater was the same one where we saw Vanya et al last year. We were not as close, but our seats were good. The theater appeared to be full or very nearly so.
Mothers and Sons is a play, not a musical. Just so you know: there is no singing and dancing. The topic is serious, but there is also a lot of humor.
(possible spoiler) Tyne Dailey plays a mother whose gay son had died of AIDS twenty years earlier. She is in New York to return a diary to the man who was his partner when he died. In the ensuing years, the partner has married a younger man and they have a young son. The story was poignant, sad, and thought-provoking. The characters have depth and the conflict is varied. I could go on about how the play may make you see some unexpected things in a new light, but better to find that out for yourself.
Although the show was about a serious topic, it was also often funny. Tyne has impeccable timing and sometimes her pauses would speak volumes.
I noted that we picked this show for the last night since we were leaving afterwards and it would end the earliest. But perhaps it turned out better to leave with something to ponder.
Apr 8th, 2014 | 11:04 AM
#56
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Joined: May 2005
Posts: 861
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TICKETS
Since, I referred to positives (mostly) about our seats, I thought it might be helpful if I included our seat numbers.
While I was at it, I noted the prices that we paid. We used coupon codes from broadwaybox or playbill (mostly the former - but I think they were mostly the same) for all of them except for Kinky Boots. The discount availability may change with the demand - but it is certainly worth checking.
Beautiful Carole King
ORCH M21 N21 $99. ea. + 19 svc chg for 2 plus 2.75 handling for 2 = $219.75
Far left aisle - medium close - missed a little action on the rear left of stage - but not significant
Forbidden Broadway
ORCHO C 2 & 4 $39.50 ea.
VERY close
Bullets over Broadway
ORCHO P 5 & 7 $99.00 ea.
Fine main floor seats
After Midnight
FMEZZ D 113 & adjoining $89 ea.
Nice overall view of stage - I think mezzanine might be better than the main floor because of the view of the large dance numbers.
Kinky Boots
ORCHPV H 19 & 21 $107 ea. + 19.75 fees for 2 =$233.75 total
Far left aisle seats - no seats in front of left-hand seat, but the angle was a bit extreme. Seats were partial view - but there wasn't much that wasn't visible. For a popular play, I think these seats were great.
If/Then
ORCH L 12 & 14 $89 each
Close - there was an aisle in front of the seats and this section was raised higher than the seats in front. This made for a near perfect view (I'm not sure what perfect would be.) However there is very little knee room.
Mothers and Sons
ORCHC N 117 & 118 $89 ea.
Good, but not awesome, seats
When we saw Once last year, we didn't get seats together and my husband's seat was partial view. He was on the far left and I think the limited viewing had a bigger impact on that play. We had extreme left seats for two plays this year and one set was considered partial view. For these two plays, it didn't matter much and the closeness more than trumped the small parts that weren't in view.
Since, I referred to positives (mostly) about our seats, I thought it might be helpful if I included our seat numbers.
While I was at it, I noted the prices that we paid. We used coupon codes from broadwaybox or playbill (mostly the former - but I think they were mostly the same) for all of them except for Kinky Boots. The discount availability may change with the demand - but it is certainly worth checking.
Beautiful Carole King
ORCH M21 N21 $99. ea. + 19 svc chg for 2 plus 2.75 handling for 2 = $219.75
Far left aisle - medium close - missed a little action on the rear left of stage - but not significant
Forbidden Broadway
ORCHO C 2 & 4 $39.50 ea.
VERY close
Bullets over Broadway
ORCHO P 5 & 7 $99.00 ea.
Fine main floor seats
After Midnight
FMEZZ D 113 & adjoining $89 ea.
Nice overall view of stage - I think mezzanine might be better than the main floor because of the view of the large dance numbers.
Kinky Boots
ORCHPV H 19 & 21 $107 ea. + 19.75 fees for 2 =$233.75 total
Far left aisle seats - no seats in front of left-hand seat, but the angle was a bit extreme. Seats were partial view - but there wasn't much that wasn't visible. For a popular play, I think these seats were great.
If/Then
ORCH L 12 & 14 $89 each
Close - there was an aisle in front of the seats and this section was raised higher than the seats in front. This made for a near perfect view (I'm not sure what perfect would be.) However there is very little knee room.
Mothers and Sons
ORCHC N 117 & 118 $89 ea.
Good, but not awesome, seats
When we saw Once last year, we didn't get seats together and my husband's seat was partial view. He was on the far left and I think the limited viewing had a bigger impact on that play. We had extreme left seats for two plays this year and one set was considered partial view. For these two plays, it didn't matter much and the closeness more than trumped the small parts that weren't in view.
Apr 8th, 2014 | 11:05 AM
#57
Joined: Oct 2006
Posts: 36,842
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Glad you enjoyed it, even though it isn't so upbeat as most of the shows you saw. We are blessed here to have the Bucks County Playhouse. Last summer we saw the world premier of Mothers and Sons with Tyne Daly. It was exciting, and we enjoyed a talk back with the playwright afterwards. From discussions I've had with others who have seen the Broadway version, a few significant changes were made to the script based on some of those talkbacks.
Speaking of Bucks County, this summer we will get a performance of Vanya, Sonia, Masha, and Spike and it will STAR the playwright Christopher Durang as Vanya. It will costar the very talented Marilu Henner (Taxi) as Masha. Ms. Henner also appeared last year here in Tale of the Allergist's Wife.
Speaking of Bucks County, this summer we will get a performance of Vanya, Sonia, Masha, and Spike and it will STAR the playwright Christopher Durang as Vanya. It will costar the very talented Marilu Henner (Taxi) as Masha. Ms. Henner also appeared last year here in Tale of the Allergist's Wife.
Apr 8th, 2014 | 12:34 PM
#58
Original Poster
Joined: May 2005
Posts: 861
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How exciting it must have been to see Mothers and Sons and be able to attend the talk back with the playwright. You've made me curious what changes were incorporated.
Have you seen Vanya, Sonia, Masha and Spike previously? I loved it last year and this past Sunday we saw it as a community theater production. I was nervous that it would disappoint me, but they did a very good job. I see that they are doing Other Desert Cities later and hope to see it as that is one that I have missed.
Seeing it with the playwright as Vanya and Marilu Henner as Masha would be really fun.
Have you seen Vanya, Sonia, Masha and Spike previously? I loved it last year and this past Sunday we saw it as a community theater production. I was nervous that it would disappoint me, but they did a very good job. I see that they are doing Other Desert Cities later and hope to see it as that is one that I have missed.
Seeing it with the playwright as Vanya and Marilu Henner as Masha would be really fun.
Apr 8th, 2014 | 01:14 PM
#59
Joined: Oct 2006
Posts: 36,842
Likes: 0
I saw the world premier of Vanya, etc. at McCarter two years ago, then it went directly to Broadway. It was with the Broadway cast. Then when Julie White took over for Sigourney Weaver (whom I thought was the weakest link) I saw the show again on Broadway. And yes, I did like her much better than Ms. Weaver.
Incidentally, not long ago we went to a small dinner party at friends who had invited other "artsy" types. One guy was introduced as "Chris" and it wasn't until dessert, that I finally put two and two together and realized it was Christopher Durang. Our host is a composer who was working on original music for the Philadelphia Theatre production of Vanya, etc.
Regarding Mothers and Sons, I was one of several at the talk back who mentioned that we grew tired of whatever the "package" was that the mother had with her. I understand now the idea that it is a diary is revealed much sooner. We also thought the guy who had been the son's lover wasn't very well developed. I understand he now has quite a significant monolog. I also remember comments about how contrived the whole thing with the little boy was -- like taking this long bath and characters having to go help him leaving two other characters alone to talk. I understand that still is the same.
Incidentally, not long ago we went to a small dinner party at friends who had invited other "artsy" types. One guy was introduced as "Chris" and it wasn't until dessert, that I finally put two and two together and realized it was Christopher Durang. Our host is a composer who was working on original music for the Philadelphia Theatre production of Vanya, etc.
Regarding Mothers and Sons, I was one of several at the talk back who mentioned that we grew tired of whatever the "package" was that the mother had with her. I understand now the idea that it is a diary is revealed much sooner. We also thought the guy who had been the son's lover wasn't very well developed. I understand he now has quite a significant monolog. I also remember comments about how contrived the whole thing with the little boy was -- like taking this long bath and characters having to go help him leaving two other characters alone to talk. I understand that still is the same.
Apr 8th, 2014 | 03:48 PM
#60
Original Poster
Joined: May 2005
Posts: 861
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Wow - I wish I had such a group of "artsy" type friends. But, in a way, I do here.
(Spoiler alert) Yes, I think the younger husband has a significant role (although I can't compare it to what it was). You see the relationship and some conflicts between the two and the younger man also has time with the mother without the older man. If anything, the weak part, I thought, of the play was the dialogue of the little boy. He had a few longer pieces of dialogue and repeated them in kind of a sing song manner. You can't really blame him since he is just a little boy. Maybe it would have been better if they reduced the amount of dialogue he had at any one time. Now that you mention it, I had thought that the little boy was taking a mighty long bath. It might have made more sense if he had taken a shorter bath and then played video games or read a book or something. They evidently wanted to remind you that he was around without him being in the same room - but I'm not sure that we needed to be reminded that much.
(Spoiler alert) Yes, I think the younger husband has a significant role (although I can't compare it to what it was). You see the relationship and some conflicts between the two and the younger man also has time with the mother without the older man. If anything, the weak part, I thought, of the play was the dialogue of the little boy. He had a few longer pieces of dialogue and repeated them in kind of a sing song manner. You can't really blame him since he is just a little boy. Maybe it would have been better if they reduced the amount of dialogue he had at any one time. Now that you mention it, I had thought that the little boy was taking a mighty long bath. It might have made more sense if he had taken a shorter bath and then played video games or read a book or something. They evidently wanted to remind you that he was around without him being in the same room - but I'm not sure that we needed to be reminded that much.
