Pirate Queen opened Oct. 3 in Chicago, anyone see it?
Oct 4th, 2006, 07:57 AM
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Not yet, but thanks to the GTG Fodors in early September I hit the Cadillac Palace just at the right time. So I have seats in the first row of the balcony on Oct. 18. I will probably post back here afterwards.
But I am easy to please, and always like a good rousing dance. The people involved have such good history/ success in production etc.
But I am easy to please, and always like a good rousing dance. The people involved have such good history/ success in production etc.
Oct 20th, 2006, 01:46 PM
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I didn't want to start a thread and needed an entire day to focus my thoughts. Thanks for asking.
You know, I want to tell you that I came to the show unequipped. Although I had a great lunch and trip up Sears Tower first, I didn't have enough Kleenex. I cried. I was crying all through intermission, I got myself a glass of wine at the balcony bar to feel better. LOL!
It was an awesome experience.
There is a scene right before the intermission that is so powerful that I won't even try to describe it. The staging of this play is phenomenal. The special effects, and the mood altering by background etc. Just tops.
This one scene before the intermission-well, even the barricade scene in Les Mis doesn't come close. It's an 11 on a 10 scale- the staging of that scene.
The entire first half is a 8-1/2 or 9 out of 10. The two or three best songs, including Boys'll be Boys, Lads will be Lads (or Cads will be Cads- I don't want to give too much away) is spectacular as well. I could hum or remember Rah-Rah, Tip-Top right away too. (Shades of Master of the House- yes, in a curious way- tempo refrains again.)
The second half details a convoluted history/varying time periods etc. It is overlong, and too slow in tempo for most people. I enjoyed every second of it, but also was aware of the slower pace and wanted one more good ripping dance in the middle of that. Too much story to tell for that to happen, though, realistically. It's probably at least 2 hours and 45 minutes long.
There are huge parallels in the music and cadences with Les Mis and Miss Saigon. I know that music- and I can hear that it is the same originators immediately. This is coming from a person who is NOT musical in anyway.
For instance, many of the singing lines were question, question, question, answer. I kept turning around to see if I could see Jean Valjean.
I had excellent seating, but was distracted by a next door seatmate that obviously did not know any history and was whispering to her buddy and looking at her watch and kicking her shopping packages throughout the second half. There was also one person behind me that constantly complained that it was all TOO LOUD AND DISTORTED in sound. Her too I wanted to stiffle. And it was loud. Loud and wonderful.
This is a hugely dramatic production. It is no mindless and fun "Mama Mia" or "HairSpray". It's about the Irish and Elizabeth I, Gloriana Regina. AND THE COSTUMES and the HISTORY. God, I just loved it.
Go, do not pass goal, do collect your ticket.
Stephanie Block as Grania is superb. Her voice is a 10. I saw her do Elphaba in Wicked. Her acting is better in this, as she doesn't need to do comedic timing here. Two of the main actors are British. Both superb.
Marcus Chait, who plays her rogue husband Donal, is one of the most gorgeous men I have ever laid eyes upon. The dancing is worth the $50 to $80 admission price alone- so all else which is very good to best becomes frosting on the cake.
I went PURPOSELY not knowing one thing about the story or actors. And I am glad I did. I did not need a map to figure it out.
Don't want to tell you too much. Just go see it. But know that I was just deciding on some "arrangements" once again- and have decided NOT to include myself. When my time comes, I'm going to be cremated.
Hint: that is a clue.
This is American Opera.
You know, I want to tell you that I came to the show unequipped. Although I had a great lunch and trip up Sears Tower first, I didn't have enough Kleenex. I cried. I was crying all through intermission, I got myself a glass of wine at the balcony bar to feel better. LOL!
It was an awesome experience.
There is a scene right before the intermission that is so powerful that I won't even try to describe it. The staging of this play is phenomenal. The special effects, and the mood altering by background etc. Just tops.
This one scene before the intermission-well, even the barricade scene in Les Mis doesn't come close. It's an 11 on a 10 scale- the staging of that scene.
The entire first half is a 8-1/2 or 9 out of 10. The two or three best songs, including Boys'll be Boys, Lads will be Lads (or Cads will be Cads- I don't want to give too much away) is spectacular as well. I could hum or remember Rah-Rah, Tip-Top right away too. (Shades of Master of the House- yes, in a curious way- tempo refrains again.)
The second half details a convoluted history/varying time periods etc. It is overlong, and too slow in tempo for most people. I enjoyed every second of it, but also was aware of the slower pace and wanted one more good ripping dance in the middle of that. Too much story to tell for that to happen, though, realistically. It's probably at least 2 hours and 45 minutes long.
There are huge parallels in the music and cadences with Les Mis and Miss Saigon. I know that music- and I can hear that it is the same originators immediately. This is coming from a person who is NOT musical in anyway.
For instance, many of the singing lines were question, question, question, answer. I kept turning around to see if I could see Jean Valjean.
I had excellent seating, but was distracted by a next door seatmate that obviously did not know any history and was whispering to her buddy and looking at her watch and kicking her shopping packages throughout the second half. There was also one person behind me that constantly complained that it was all TOO LOUD AND DISTORTED in sound. Her too I wanted to stiffle. And it was loud. Loud and wonderful.
This is a hugely dramatic production. It is no mindless and fun "Mama Mia" or "HairSpray". It's about the Irish and Elizabeth I, Gloriana Regina. AND THE COSTUMES and the HISTORY. God, I just loved it.
Go, do not pass goal, do collect your ticket.
Stephanie Block as Grania is superb. Her voice is a 10. I saw her do Elphaba in Wicked. Her acting is better in this, as she doesn't need to do comedic timing here. Two of the main actors are British. Both superb.
Marcus Chait, who plays her rogue husband Donal, is one of the most gorgeous men I have ever laid eyes upon. The dancing is worth the $50 to $80 admission price alone- so all else which is very good to best becomes frosting on the cake.
I went PURPOSELY not knowing one thing about the story or actors. And I am glad I did. I did not need a map to figure it out.
Don't want to tell you too much. Just go see it. But know that I was just deciding on some "arrangements" once again- and have decided NOT to include myself. When my time comes, I'm going to be cremated.
Hint: that is a clue.
This is American Opera.
Oct 20th, 2006, 03:06 PM
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WOW! What a wonderful review! I am definitely going now. I saw some mixed reviews on Internet, so I was not sure. There are not many tickets left, but I can probably find a couple (unless Fodorites will buy them all after your review ) 
Thank you so much!
Thank you so much!
Oct 20th, 2006, 07:57 PM
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There were mixed reviews in the intermission crowd too. I was trying not to appear like I was weeping, when I was. A elegant little woman came up to me to tell me she thought it was wonderful too.
She said that she too had heard the remarks coming out into the foyer as I did, that it was too loud, and "I don't understand blah, blah." Then she said to me, with this little crooked smile.
"But dear, we know that they are all morons who don't know history, and only watch Desparate Housewives." It was a matinee, and she really did make me laugh. She had champaign, I had a wine.
It's a dense drama- and just doesn't have the revolution connection, or intense class connection- as Les Mis did, but it is well worthy seeing. It will not be generally appreciated/ have mass appeal as much as some happier musicals, like My Fair Lady, of that I am sure.
But I would put it ahead of Miss Saigon and behind Les Mis. overall. To me it was much, much better than Phantom.
And in staging itself- special effects, placements, ships etc. this one is genius level. Best I have seen for that aspect.
Enjoy before it is gone.
She said that she too had heard the remarks coming out into the foyer as I did, that it was too loud, and "I don't understand blah, blah." Then she said to me, with this little crooked smile.
"But dear, we know that they are all morons who don't know history, and only watch Desparate Housewives." It was a matinee, and she really did make me laugh. She had champaign, I had a wine.
It's a dense drama- and just doesn't have the revolution connection, or intense class connection- as Les Mis did, but it is well worthy seeing. It will not be generally appreciated/ have mass appeal as much as some happier musicals, like My Fair Lady, of that I am sure.
But I would put it ahead of Miss Saigon and behind Les Mis. overall. To me it was much, much better than Phantom.
And in staging itself- special effects, placements, ships etc. this one is genius level. Best I have seen for that aspect.
Enjoy before it is gone.
Oct 20th, 2006, 08:42 PM
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JJ5,
We would have to go on weekday, because most of the tickets for weekends are sold out. First, my husband was not too excited about driving to downtown in the middle of the week, but I have read your review to him, and he was sold It definitely sounds like a play for us, so I am sure we are going to love it.
I hope I would not get those kind of seatmates, because I get very irritated with these type of comments.
When we go to Lyric Opera performances, we often get neighbors who got there by accident, not knowing what they are getting into. And they just talk thru performance, eat something, and look at their watch. And they are normally gone after the first act.
Anyway, thanks again for the wonderful and so emotional review, and we will probably go on Tuesday.
We would have to go on weekday, because most of the tickets for weekends are sold out. First, my husband was not too excited about driving to downtown in the middle of the week, but I have read your review to him, and he was sold
It definitely sounds like a play for us, so I am sure we are going to love it.I hope I would not get those kind of seatmates, because I get very irritated with these type of comments.
When we go to Lyric Opera performances, we often get neighbors who got there by accident, not knowing what they are getting into. And they just talk thru performance, eat something, and look at their watch. And they are normally gone after the first act.
Anyway, thanks again for the wonderful and so emotional review, and we will probably go on Tuesday.
Oct 21st, 2006, 05:27 AM
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You'll love it.
Now that there has been a 3 day "afterwards"- I am remembering the "battle" number more and more. I just love how they did the "taken/sunk" English ship as well- I didn't mention that, and now those last movements are coming back to me in memory. Like ballet movements or swaying weath in a field- beautiful dance. And the Celtic pipes twilling away too!! If you like opera, you will love Pirate Queen.
Now that there has been a 3 day "afterwards"- I am remembering the "battle" number more and more. I just love how they did the "taken/sunk" English ship as well- I didn't mention that, and now those last movements are coming back to me in memory. Like ballet movements or swaying weath in a field- beautiful dance. And the Celtic pipes twilling away too!! If you like opera, you will love Pirate Queen.
Oct 21st, 2006, 09:53 PM
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I saw Pirate Queen tonight and also was selected for a focus group after the show. These are my thoughts as well as some that were brought up by the group.
One of the largest complaints was that many of the performers were difficult to understand. For that reason, several in the group of about 30 said they had problems following the plot.
I felt that Grace's father and some of the other characters weren't fully developed to make them sympathetic to the audience. If the characters don't do anything to endear themselves to the listener, why should he/she care if the character dies, gets captured or meets another tragic end?
Many in the group disliked the Queen Elizabeth character. They found her operatic voice out of place in the show and inconsistant with what her character was trying to portray.
The dance sequences had no relationship to the rest of the story and felt like the show took a break for a Riverdance commercial.
The ending was predictable and very weak. It felt like the authors were saying after all those years of turmoil and heartache, everything was fixed after a few moments and suddenly everyone was going to live happily ever after.
One of the participants said the ending was part Beauty and the Beast and part Riverdance with a bit of The Little Mermaid sprinkled on top for good measure.
I also noticed historical inaccuracies which kept bothering me throughout the evening.
The pollsters' final question to the group was "Would you recommend this show to your friends?" Most said they would but would also add that the current form was a good beginning, but still needed work.
One of the largest complaints was that many of the performers were difficult to understand. For that reason, several in the group of about 30 said they had problems following the plot.
I felt that Grace's father and some of the other characters weren't fully developed to make them sympathetic to the audience. If the characters don't do anything to endear themselves to the listener, why should he/she care if the character dies, gets captured or meets another tragic end?
Many in the group disliked the Queen Elizabeth character. They found her operatic voice out of place in the show and inconsistant with what her character was trying to portray.
The dance sequences had no relationship to the rest of the story and felt like the show took a break for a Riverdance commercial.
The ending was predictable and very weak. It felt like the authors were saying after all those years of turmoil and heartache, everything was fixed after a few moments and suddenly everyone was going to live happily ever after.
One of the participants said the ending was part Beauty and the Beast and part Riverdance with a bit of The Little Mermaid sprinkled on top for good measure.
I also noticed historical inaccuracies which kept bothering me throughout the evening.
The pollsters' final question to the group was "Would you recommend this show to your friends?" Most said they would but would also add that the current form was a good beginning, but still needed work.
Oct 22nd, 2006, 04:39 AM
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I think that last statement about "still needing work" seems to be the most often recurring thought amongst all the reviews.
I brought up the ticket site for the Broadway production and saw that I can get first row mezzanine seats for nearly any time I'm in NYC in May or June, but I think I'm holding off for now.
I brought up the ticket site for the Broadway production and saw that I can get first row mezzanine seats for nearly any time I'm in NYC in May or June, but I think I'm holding off for now.
Oct 22nd, 2006, 06:56 AM
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I noticed historical distortion, but that's what happens in all historically based theatre, IMHO. And in literature as well, for the majority of works. Even Ben Franklin's diaries. LOL!
The entire story is too big for one play. Too many years and too much change. The second half was trying to end a 1200 page novel including specific detail on 30 main characters in 5 pages- it was a rather empty and vampid conclusion. And also too slow aesthetically.
I did not find it difficult to understand the words, nor did I find any problem with Grania's father's character development. He's a loved leader of a clan and you see the strong connection he has with Grania.
But maybe most other people don't identify with primary level group clan/genetic attachment any more, coming from this age of individualism.
I loved the Queen Elizabeth role myself, and think that the operatic fit the royal condition. I sure hope they don't make her a "lass" and dumb this play down overall, myself. To me she was one of the best features of the play. Loved her staging varieties- that she wasn't always on a throne, so to speak.
I love opera as well, and go about 2 times a year. My daughters mother-in-law is a Civic Opera member and takes me.
The entire story is too big for one play. Too many years and too much change. The second half was trying to end a 1200 page novel including specific detail on 30 main characters in 5 pages- it was a rather empty and vampid conclusion. And also too slow aesthetically.
I did not find it difficult to understand the words, nor did I find any problem with Grania's father's character development. He's a loved leader of a clan and you see the strong connection he has with Grania.
But maybe most other people don't identify with primary level group clan/genetic attachment any more, coming from this age of individualism.
I loved the Queen Elizabeth role myself, and think that the operatic fit the royal condition. I sure hope they don't make her a "lass" and dumb this play down overall, myself. To me she was one of the best features of the play. Loved her staging varieties- that she wasn't always on a throne, so to speak.
I love opera as well, and go about 2 times a year. My daughters mother-in-law is a Civic Opera member and takes me.
Oct 22nd, 2006, 08:21 AM
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I understand that the purpose of pre-Broadway runs is to tweak things and remove the bugs. But I've never left one feeling that tweaking wouldn't work as well as a major overhaul.
I also understand that artistic license allows the bending of some facts. However, the script implied (or said) that Elizabeth ruled Scotland in addition to England. As most people know, they two kingdoms weren't united until after Elizabeth's death. If the show makes it to the West End, that will be one of the first things everyone catches.
I managed a B'way house for six years and saw shows that didn't even sound like a good concept. (A musical about the Shroud of Turin that stars a mime?!
) This show has a good shell but just needs to be filled in better.
I also understand that artistic license allows the bending of some facts. However, the script implied (or said) that Elizabeth ruled Scotland in addition to England. As most people know, they two kingdoms weren't united until after Elizabeth's death. If the show makes it to the West End, that will be one of the first things everyone catches.
I managed a B'way house for six years and saw shows that didn't even sound like a good concept. (A musical about the Shroud of Turin that stars a mime?!
) This show has a good shell but just needs to be filled in better.
Oct 22nd, 2006, 09:03 AM
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"A musical about the Shroud of Turin that stars a mime."
Oh, please, please tell me you made that up. I'm rolling on the floor thinking about it. Tell me it wasn't called "Veil of Tears" or "Mima Mia"
Oh, please, please tell me you made that up. I'm rolling on the floor thinking about it. Tell me it wasn't called "Veil of Tears" or "Mima Mia"
Oct 22nd, 2006, 09:23 AM
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Neo, I wish it weren't true but it is. The show was Into the Light and premiered in 1986. It starred Dean Jones as a scientist determined to debunk the shroud.
In delving deeper into his work, he begins to question his own faith and also becomes more distant from his young son. As a result, the son creates an imaginary playmate who's portrayed by the mime. Whenever the mime appeared on stage he was accompanied by (then) state-of-the-art laser effects.
The initial investment was something around $8 million and it lasted on B'way for 6 performances.
My boss invested heavily in is so, he never heard us call it Into the Blight.
In delving deeper into his work, he begins to question his own faith and also becomes more distant from his young son. As a result, the son creates an imaginary playmate who's portrayed by the mime. Whenever the mime appeared on stage he was accompanied by (then) state-of-the-art laser effects.
The initial investment was something around $8 million and it lasted on B'way for 6 performances.
My boss invested heavily in is so, he never heard us call it Into the Blight.
