No, really!
Or, at least, probably?
A solid maybe.
The new blog is up and running over at TheBroadwayProject.nyc — check, check, check it out!
Broadway
You guys, I saw Hamilton on Broadway. For free. And it was fantastic.
Did that really just happen?
Yesterday was my best friend’s birthday, and we had a lovely evening planned: reading in Central Park, catching a movie, possibly getting a drink at the bar around the corner. But all of that went quickly out the window when I WON THE BROADWAY BOX TICKET LOTTERY and got FREE ORCHESTRA SEATS TO HAMILTON ON BROADWAY which ONLY JUST OPENED ON THURSDAY.
I’m still a little in shock. Can you tell?
After seeing the show last night, I can now confirm that all of the press and accolades this show is receiving are 100% earned. A hip-hop historical musical told almost entirely via rap lyrics is something that likely wouldn’t have made it to Broadway at any other time in history. Now, it’s the hottest ticket in New York. Hamilton probably has the Best Musical Tony on lockdown, which controversial Fun Home took home this year. I just love watching the huge, exciting risks Broadway is taking right now. (Speaking of Deaf West’s Spring Awakening… but I digress.)
I saw a commenter on the Broadway World boards asking whether it was possible to enjoy the show if you don’t like rap music. The answer to that question is solidly yes. I’d argue that people who love musical theatre but aren’t into rap are exactly the people who should see this show. You might find a whole new appreciation for the art form and its storytelling capabilities, especially when in the hands of a lyricist as visionary as Lin-Manuel Miranda.
The first thing I want to comment on is the pacing. This show moves. Basically, try not to blink for the entire three hours. (OK, you can blink during intermission. Unless you’re scouring the audience for celebs, whom you’re more than likely to find. We sure did.) The lyrics go by fast and the plot points go by faster. That’s not a complaint; it’s furious pacing in the very best way, and I had no trouble keeping up. I only wish I had more time to appreciate each and every rhyme. I’m definitely looking forward to buying the soundtrack when it comes out, and listening while reading the lyrics.
The rotating stage, which I noticed when I first sat down, plays a small but inspired part in that pacing. At first I didn’t think would be necessary; the set is minimal, the story grounded and historical rather than fantastical. But what the rotation does is visually add to how frenetically the show moves along. Actors are able to go from one side of the stage to the other more quickly, as they’re spouting lyrics quickly, and it makes the entire show feel like its constantly and inevitably in motion. I don’t know if a rotating stage was part of the set at the Public, but I would be surprised if it weren’t, because the choreography looks to have been designed perfectly around it. And that’s a good segue into my favorite part of the show:
The ensemble. The choreography. I mean, I’m speechless. The dancers are so talented, there were times I found myself watching them when I was supposed to be focusing my attention on a lead. The movement is strong, and the choreography is unlike anything else I’ve seen on Broadway. Each dancer’s style and interpretation is oh-so-slightly different, yet they come together in a way that tells a united story. Choreographer Andy Blankenbuehler has done a masterful job.
All of the actors are fantastic, but there were definite standouts. In my opinion, Renée Elise Goldsberry kind of steals the show. I was surprised to find myself tearing up during her number in the first act, in which a wedding scene is recreated from her (devastating) point of view. I hadn’t been invested in her character whatsoever prior to that moment, so her making me care and bringing me to tears during the course of just one song is pretty incredible. Leslie Odom, Jr. as Aaron Burr was also great. My friend and I feel pretty confident he’s secured a Tony nom for his performance, which was understated and powerful. And then there’s Jonathan Groff as King George, who also brought me to tears — laughing. Groff’s deadpanned comic relief is ridiculous and perfect (as I imagine Brian d’Arcy James’s was Off-Broadway, as well). Look closely and you can see a few of the other actors trying, and failing, not to crack up when Groff is on stage.
Hamilton is going to be on Broadway for a very long time. There’s no doubt in my mind about that. But, when its run does end, what really excites me is the addition of an outstanding, nuanced rap musical to the musical theater genre. I can see the regional productions, the college and high school productions, giving those who might not have had a chance to get up and show their talent. It’s bringing diversity, much needed diversity, to Broadway in more ways than one.
Broadway on a Budget: Six ways to score discount Broadway tickets
In case it isn’t clear by now, going to Broadway shows is by far my favorite activity, and the best part of living in New York City is the easy access I have to them. Physically, that is — the theaters are literally steps away from my apartment — but not financially. Broadway isn’t cheap… but it can be, if you know where to look. Here are my six favorite places to buy discount Broadway tickets, whether I’m looking to see a show in a few months, a few weeks, a few days — or even a few hours.
1. TodayTix is an app that I started using last year, and now it’s my #1 go-to for quick, cheap tickets and mobile lotteries. The app is very easy to use; if you’re looking to buy tickets for a show within seven days, and have a smartphone, this is the way to go. You order the tickets through the app, then pick them up from a TodayTix representative outside the box office a half hour before the show. Shows I’ve seen using TodayTix: Hedwig and the Angry Inch (with Michael C. Hall), Beautiful: The Carole King Musical, Fun Home, On the Town. Pros: Easy to use, excellent customer service, and a ridiculously good value. For an extra $20 off your first purchase (which could mean a free ticket in some cases), you can use my code: ZGYOD. Cons: You don’t get to pick your exact seats; you only get to select your section. In my personal experience, though, the seats have always been good. No complaints here.
2. Ticket Lotteries: If you’re willing to take a risk, a lottery is a good way to get last-minute tickets to popular shows. There are two kinds of lotteries: physical lotteries, in which you show up at the theater a few hours before the show and enter your name in a drawing, and mobile lotteries, which you can enter via TodayTix (see above). Either way, tickets will likely run you $20 to $40. The odds of winning a Broadway lottery vary from day to day and from show to show; for the best odds, try a weekday, or even a rainy day. And read my post on tips for winning, too! Shows I’ve seen through Broadway lotteries: Hedwig and the Angry Inch (with John Cameron Mitchell; second-row center seats!), Wicked (one of the harder lotteries to win, but the front-row seats are worth it!). Pros: Cheap tickets, and that feeling of elation when your name is called. Cons: That feeling of depression when your name isn’t called, and the fact that you can only win one or two tickets. If you’re hoping to see a show with more than one other person, lotteries might not be your best option.
3. General and Student Rushes: My favorite discount when I was in college! I loved student rushes, and fully took advantage of them. General rushes are also useful, though the discounts may be slightly less. To buy rush tickets, you just need to make sure the show has a rush policy, and show up early at the box office. Shows I’ve seen using Rush tickets: Way too many to count! Gypsy, Hairspray, Once, The 39 Steps… Pros: A good option for day-of tickets if you’re not willing to risk a lottery. Cons: The seats are typically up in the nosebleeds or partial view, all the way up front and to the side (so you miss half the stage); you may also find yourself waiting in line at the box office early in the morning if it’s a hot-ticket show.
4. HIPTIX and HIPTIX Gold: The Roundabout Theater Company is very kind to its younger fans, hoping to turn them into future patrons — which they do! At least, they did with me. The HIPTIX program allows theater-goers under 35 to purchase up to two mezzanine tickets for every Roundabout production for $25. (The purchaser has to be under 35; their guest can be any age.) For a $75 donation to Roundabout, you can become a HIPTIX Gold member, bumping those two tickets up to orchestra seats, still at only $25. Shows I’ve seen via HIPTIX: Cabaret, Into the Woods, The Real Thing, On the Twentieth Century. Pros: Great shows at an excellent price, and special offers and events like their extremely informative pre-show theater talks. Cons: Non-Gold HIPTIX can sell out fast, so you may find yourself buying the next available HIPTIX seats for a few months down the line, and this only applies to Roundabout productions — so, only a few a year.
5. 30 Under 30: Another great age-specific program, 30 Under 30 is exactly that: $30 tickets for theater-goers 30 and under. The program is part of the Manhattan Theatre Club. Though I haven’t purchased tickets through it yet, I’m amazed at the excellent offers that occasionally pop into my inbox just because I joined the mailing list. Just this last weekend, for instance, they shot out a 2-for-1 e-mail deal for Of Good Stock that I absolutely would have taken advantage of if I were in town. Pros: Good flash deals, and their post-show parties (who doesn’t love wine and cheese?). Cons: The age restriction, obviously, and access only to MTC productions, of which there may be few that a non-veteran theater-goer would recognize.
6. Standing Room Only (SROs): This is exactly what it sounds like. If a performance is sold out, some shows choose to offer standing spots, typically behind the back row of the orchestra. I’ve found these to cost in the range of $30. I haven’t purchased an SRO ticket, but speaking to friends who have, it sounds like a viable option if you’re willing to be patient and flexible. Pros: Access to hot-ticket shows you might not be able to afford otherwise, and the occasional run-in with someone associated with the production — a friend of mine was lucky enough to find herself standing next to Stephen Trask at an early Hedwig performance. Cons: You never know for sure if a show is going to sell out, so you may find yourself waiting in line all day only to be told no SRO tickets are available. Extra tip: A good idea here is to double down; while waiting on the SRO line, you can enter a ticket lottery. If you win the lottery, great! If not, you’ve still got a shot at SRO.
There are so many more programs, apps, sites, and discounts that I haven’t covered or yet tried. Broadway Roulette, for example, seems to be gaining some headway in the discount theater space; and sites like TheaterMania.com and BroadwayBox.com often offer discounts that rival some of these options. And I didn’t even cover the Theatre Development Fund’s TKTS booths! Mostly because the thought of standing in line in the middle of Times Square for an hour gives me hives. But that’s another story.
What are your favorite discount tips? Feel free to share them, and your discount success stories, in the comments below.
FUN HOME Round Robin on Noted in NYC
I was invited to participate in my first Round Robin theater discussion on Sarah Evans’s lovely blog, Noted in NYC. For my and four other well-informed people’s take on Fun Home, the musical that’s expected to win big at the Tony Awards, check it out here:
And for a sneak peek of the sucker-punching song Sydney Lucas is going to sing at the Tonys on Sunday, check out this video of her performing at 54 Below this week:
Tony Awards 2015: My Pre-show Picks
The 69th Annual Tony Awards will be held at Radio City Music Hall on Sunday. (Image from http://www.goldderby.com)
Entering a Tony Awards pool at your office? Need some help with your predictions? Want to place your trust in a complete stranger who only knows 50% of what she’s talking about? Great! Here are my picks for Sunday’s broadcast:
Best Play: Wolf Hall Parts One & Two
I am so out of my depth on anything that isn’t about musicals. I saw only two plays this year — The Real Thing, which isn’t nominated, and You Can’t Take It With You, which I didn’t enjoy — so my play picks are going to be mostly guesses. In this case, I feel like Wolf Hall has been on people’s minds lately, what with the TV show. Plus, this is two plays in one; it’s doubly impressive. I wouldn’t be too surprised or upset to see Curious Incident win this category, though.
Best Musical: Fun Home
Oh, this is difficult. An American in Paris was beautiful and is likely to take home an award or two, but I don’t think it will be the biggie. Something Rotten! is getting such good hype and really seems loved by the industry (aka, the voters). The Visit… eh. I’ve got to give it to Fun Home. It’s ground-breaking in a way Tony voters will want to acknowledge.
Best Revival of a Play: You Can’t Take It With You
Again, I’m out of my depth with plays, and again, I just didn’t love this. But people whose opinions I respect did. So maybe I’m just a dullard.
On the Town (Image from onthetownbroadway.com)
Best Revival of a Musical: ^On the Town
I had such low expectations for On the Town, but was unbelievably surprised how well executed it was. Good stuff, and deserving of a Tony. I’d probably give it a nod for choreography, too, if An American in Paris didn’t open this year. On the Twentieth Century doesn’t seem to have landed well, and The King and I is getting less press than I’d expect from such a big show.
Best Book of a Musical: Fun Home
I’ll be shocked if Fun Home doesn’t win here.
Best Original Score Written for the Theatre: Fun Home
…and here. (Though Something Rotten! might give it a run for its money.)
Best Actor in a Leading Role in a Play: Ben Miles (Wolf Hall Parts One & Two)
This is such a guess. I just don’t see Tony voters giving a statue to Bradley Cooper.
Best Actress in a Leading Role in a Play: Helen Mirren (The Audience)
I mean, come on. She plays the Queen of England. And she’s Helen Mirren.
Best Actor in a Leading Role in a Musical: Michael Cerveris (Fun Home)
The industry does love Brian d’Arcy James (as do I). But Cerveris needs to be recognized for this unique, passionate, and incredibly intricate performance.
Leanne Cope, An American in Paris (Image from TheaterMania.com)
Best Actress in a Leading Role in a Musical: ^Leanne Cope (An American in Paris)
Okay, this is my long shot. Realistically, the award will probably go to Beth Malone. But, honestly, I didn’t even know if she’d be nominated for leading actress or featured actress. Her role has only a few good moments in a musical packed with many amazing moments. On the other hand, Leanne Cope’s grace and athleticism is something rare. She took a chance taking on a Broadway role, and thank goodness she did. I’d love to see her take home an honor. (Seriously, that 20-minute ballet sequence at the end? That alone was worth the ticket price.)
Best Actor in a Featured Role in a Play: Nathaniel Parker (Wolf Hall Parts One & Two)
::shakes fist:: Plays! I have no idea. Giving it to Wolf Hall again.
Best Actress in a Feature Role in a Play: Patricia Clarkson (The Elephant Man)
Love me some Patricia Clarkson.
Best Actor in a Featured Role in a Musical: Christian Borle (Something Rotten!)
Something Rotten! is definitely not going home with nothing. That said, it’s possible voters will split between Borle and Oscar. But then, I’d imagine they’d also split between An American in Paris‘ Uranowitz and von Essen. Realistically, I think Borle will take it. (I did enjoy Uranowitz’s performance, though. Crossing my fingers for him anyway.)
Sydney Lucas, Fun Home (Image from SydneyLucas.net)
Best Actress in a Featured Role in a Musical: ^Sydney Lucas (Fun Home)
This category is probably the most talked about, with three Fun Home actresses nominated. But without a doubt, Sydney Lucas is the runaway winner here. Emily Skeggs was charming, and Judy Kuhn was masterful, but Lucas was memorable and, not to mention, adorable. I think Tony voters will want to see her up on that stage.
Best Scenic Design of a Play: Bunny Christie & Finn Ross (The Curious Incident of the Dog in the Night-Time)
Maybe? I don’t know. Probably Wolf Hall again.
Best Scenic Design of a Musical: Fun Home
If I had my way, An American in Paris would take this one home. But I don’t see that happening. Too much intricacy going on in Fun Home. Plus, everyone appreciates how well they transitioned from the Public to a theater in the round.
Best Costume Design of a Play: Christopher Oram (Wolf Hall Parts One & Two)
Sure, why not?
The Curious Incident of the Dog in the Night-Time (Image from TheaterMania.com)
Best Lighting Design of a Play: Paule Constable (^The Curious Incident of the Dog in the Night-Time)
My real reasoning? Erm. I was going to pick Natasha Katz here for Skylight, because the title of the show has the word “light” in it, but I think she’s got a good shot of winning in the Musicals category for An American in Paris, and I think people are unlikely to vote for her twice. This is a terrible reason, and I don’t know what I’m talking about. It’s like picking the winner of the Super Bowl based on the color of their uniforms. Sorry. I’ll see myself out.
Best Lighting Design of a Musical: Natasha Katz (An American in Paris)
See above.
Best Direction of a Play: Jeremy Herrin (Wolf Hall Parts One & Two)
I’m counting on you, Wolf Hall.
Best Direction of a Musical: Sam Gold (Fun Home)
Obvs.
Best Choreography: Christopher Wheeldon (An American in Paris)
I was basically in awe the entire time. This seems like a hands-down win to me.
Best Orchestrations: Christopher Austin, Don Sebesky & Bill Elliott (An American in Paris)
Something Rotten! and Fun Home probably have a better chance, but these orchestrations were beautiful.
Totals:
Fun Home: 7
Wolf Hall Parts One & Two: 5
An American in Paris: 4
The Curious Incident of the Dog in the Night-Time: 2
The Audience: 1
The Elephant Man: 1
On the Town: 1
Something Rotten!: 1
You Can’t Take It With You: 1
Final thoughts: Hmm. I think I might have been too kind to An American in Paris. More than likely, a few of those are going to be distributed to Fun Home (which could, realistically, sweep its categories) or Something Rotten! (which I’m surprised I only gave one award to here). Also… is it just me, or does the Tony lineup seem a little less exciting than in years past? I guess there’s always next year to look forward to — other than the fact that the Hamilton people are probably already having a trophy case specially designed to be big enough to hold all their wins. Wonder if Hamilton will perform on Sunday night…
In Conclusion: John Cameron Mitchell is getting a special award, so everything’s going to be all right.
JCM, you complete me. (Image from Broadway.com)
Broadway Haikus
I am woefully behind in reviewing the shows I’ve seen. Woefully. A full write-up for each is overdue, but unlikely to happen. Therefore, to bring this blog back up to speed, I’ve crafted haikus instead. Which, in retrospect, probably took equally as much (if not more) time than writing full reviews. But… shuddup. Enjoy! And, if you’re up for the challenge, post your own Broadway-inspired haikus in the comments.
[Photo Credit: Entertainment Weekly]
This is a photo of me delivering my haikus at a recent spoken-word poetry slam. Kind of.
I had always thought
This was a fun, silly show
About showbiz. Wrong.
Cabaret (with Emma Stone)
Emma as Sally
Was an unexpected choice
But my, did it work.
Hedwig (with Andrew Rannells)
A noble effort
And a powerful voice, but…
I missed NPH.
You Can’t Take It With You
Something ’bout this one
Didn’t land with me. Oh well.
Sorry James Earl Jones.
Hedwig (with Michael C. Hall)
Oh, hey there Dexter.
While fans mob you at the door,
I’ll chat up Lena.
(or)
“Again?” Yes, again.
I bought tix online while drunk.
Don’t judge. No regrets.
The Real Thing
Ewan McGreggor’s
Extremely well-tailored pants
Kind of stole the show.
Into the Woods
The staging! The cast!
I so loved this performance.
‘specially the cow.
*Shameless plug: I recently wrote a bit about how seeing shows can take a sizable chunk out of my wallet. To combat this, I’ve started using the app TodayTix, and I’ve had nothing but good experiences with it. If you’re looking for discount tickets in the city, give it a try. For $20 off your first order, use my code: ZGYOD.
Six tips for winning Broadway ticket lotteries
Update July 8, 2015: Everything in this post is still valid, but if you’re looking for additional information, check out my latest post on the topic: Broadway on a Budget: Six ways to score discount Broadway tickets.
Update May 1, 2015: Because so many of you have asked for it, here’s an alternative to Broadway ticket lotteries: give the discount ticket app TodayTix a try. I’ve had nothing but good experiences with it. For $20 off your first order, use my code: ZGYOD. Okay, on to the blog post!
Being a lover of musical theatre living near NYC makes my wallet cry. Poor wallet. All it wants is to know what it’s like to not feel a devastating emptiness all the time. In an effort to prevent my wallet from going off the deep end, I’ve stopped buying full-price Broadway tickets and have started frequenting lotteries.
For those who haven’t heard of a Broadway lottery before, here’s the gist: Most of the shows on Broadway have a lottery system where you show up approximately 2-3 hours before the curtain and enter your name to win a pair of tickets. These tickets range from $20-$40 and can be anywhere in the theater — front, back, side, full view, partial view, box… Whatever the theater has left that day. The last pair of tickets in the Hedwig lottery, for instance, stick you in a box with the speaker system. (Here’s a tip: Bring earplugs.) The odds of winning a lottery change depending on how many tickets are available, and how many people enter the lottery for any given performance.
I’ve been searching for lottery tips online, and I’m not finding many. So, in the spirit of camaraderie, here are the top tips I’ve discovered in my Broadway lottery-going experience:
1. Plan your attack. This site is my personal favorite for lotteries because it gives you the full schedule, in chronological order. This way, you can run to a 4:30 lottery, then still make it to a 5:00 if you don’t win. If you’re planning to lottery-hop in case of emergency, be nice to the people around you at the first; chances are you’ll be seeing them again very soon.
2. Bring cash. Some shows take credit cards as payment for lottery tickets; others don’t. Come prepared with multiple forms of payment, including cash. You’ll also need to show at least one form of ID most of the time, so make sure to bring that along, too.
3. Single? Mingle. Pairing up with another single (each putting in for two tickets, and promising each other your extra if you win) doubles your chances at ending up with a seat. I like to accomplish the mingle by awkwardly holding up one finger at people who look lonely and shooting them my best pathetic puppy-dog eyes. Double win: You get a lottery partner AND a new best friend!
4. When it rains… Bad weather? You’ve got a much better chance at scoring a ticket, sheerly based on the fact that some potential lottery-goers aren’t going to want to stand outside in bad weather. Bring an umbrella, rain boots, and a change of clothes so you aren’t watching the show completely drenched. Snowstorm? Even better.
5. Don’t go for gold. The more popular the show, the less likely it is you’ll win tickets. That’s math. When attempting a lottery, your best bet is to go for a show that has been out for a while; your Wicked chances a fews years ago were slim, but now you may find them (slightly) less slim. Going right after the Tony’s is always rough. Of course, this piece of advice doesn’t apply when you have your heart set on a certain hot-ticket performance, in which case you’ll have to…
6. Prepare to wait it out. I know someone who entered the lottery for Book of Mormon every performance for six weeks before winning. Is that really worth it? Wouldn’t you have rather just coughed up money for pricey tickets earlier on and saved yourself hours, days even, of personal time? Maybe not. I’ll admit it: At the end of the day, it’s the luck of the draw. Just like in gambling, a true lottery-goer always expects to win on that next pull…
And, one bonus tip:
You think you’re smart because you’ve put your name in the lottery multiple times. You’re not. Rest assured, they do check for repeat entries in the two hours between the lottery drawing and the curtain going up. As the lottery host at Hedwig said on Saturday, “If your name is in here multiple times, I’m going to take your ticket away. And won’t that be sad? Oh, the shame.” Moral is, play fair.
Help a girl out: What are your Broadway lottery, rush, and SRO tips?
Guest Review: “Hedwig and the Angry Inch” on Broadway with Neil Patrick Harris
Seeing Hedwig and the Angry Inch yesterday was an amazing, jaw-dropping experience, one that I plan to repeat sometime before the show ends its run in August. Neil Patrick Harris’s energy was kinetic, Lena Hall was outstanding, and really, heaps of credit should be given to the crew. But for a true in-depth review of this musical, I have to pass the metaphorical mike to someone who didn’t meet Hedwig for the first time on last night’s stage. That’s why I invited my theatre cohort and longtime Hedwig fan, Andrew Scott Taylor, to share his thoughts in this guest review.
All good thoughts and broken legs to cast and crew on their opening night! And with that, over to AST:
Last night, I had the sublime experience of attending the last night of previews for Hedwig and the Angry Inch with my partner in (musical) crime, Allie. For her, the experience was entirely new; she had purposefully avoided reviews and synopses. For me, it was a homecoming.
I was first introduced to Hedwig my freshman year of college and subsequently developed an obsession that consisted of memorizing the soundtrack, attending a college drag ball in my best Hed-wig and even timed a visit to Baltimore around a local production of the musical. Obviously, the story of how “some slip of a girly boy from communist East Berlin became the internationally ignored song stylist [Hedwig]” struck a chord with me.
When I heard that none other than Neil Patrick Harris (NPH) would be staring in a production on Broadway, the show naturally leapt to the top of my musical wish list queue. I was not disappointed.
Hedwig, from start to finish, is exhilarating, captivating and just downright fabulous. NPH truly embodies the role and his humor, charisma and talent shine through 30 pounds of pancake makeup and fake hair. (Oh my god, can we talk about the wigs?) The nuances of Hedwig’s character emerge in a beautiful and at times heartbreaking way before the audience. This is a credit not only to NPH’s performance but also to the book by John Cameron Mitchell (who also originated the role). Rarely does a character with such flare and style also get to express such vulnerability and dejection too.
Expertly teasing out Hedwig’s character (as well as literally teasing her hair) is Lena Hall, in the role of Yitzhak, Hedwig’s put-upon husband. Hall is a revelation — a show-stopping songstress with a difficult balancing act to play. Her quiet and soulful demeanor when she’s forced into the background is the perfect foil for Hedwig. And yet, the character also serves as a gendered mirror to Hedwig — talented, melancholy but presenting as male.
The production as a whole was performance personified. Yes, the wigs and costumes were flawless. But for the first time, I found myself checking the Playbill to find out who the Lighting Designer was (Kevin Adams) because in the more violent numbers (“Angry Inch,” “Exquisite Corpse”) the songs became visceral, sensory experiences embodying Hedwig’s anger and frustration. The softer songs from the soundtrack (“Origin of Love,” “Wicked Little Town”) just drove home how beautiful the music and lyrics by Stephen Trask are. The innovative incorporation of animation for the “Origin of Love” number left me with chills. By the end, as Hedwig/NPH encouraged the crowd to “lift up your hands” to “Midnight Radio,” something tangible had taken over the crowd, leading to a preemptive standing ovation that left me choked up.
The overwhelming sense of joy and uplift in the theatre was the most powerful takeaway of the evening. This is a show that, at its heart, explores the complex spectrums of gender and sexual identity. Seeing a crowd of theatregoers lovingly embrace a protagonist who was once considered controversial for straddling those spectrums was a deeply moving experience.
—
Hedwig and the Angry Inch opens with a limited engagement on April 22 (tonight!) at The Belasco Theatre (111 West 44th Street) under the direction of Michael Mayer.
Opening night of previews for “If/Then” on Broadway with Idina Menzel
I read in a New York Times piece about the pros and cons of Broadway previews that reviewers should withhold judgment until the true opening night. So much can change between the first night of previews and the first “real” performance of the show’s run. Some people take the near-guarantee of tweaks and changes as a reason not to see a show in previews — you’ll only want to see it again after it’s been frozen (no, not this Frozen) for opening night, to make sure you got the full experience. And who has the money for seeing a show twice? Honestly, I hardly have the money for seeing a show once.
But I’m still a huge supporter of attending previews, particularly the very first night. I can’t pretend to know how the cast feels, but from this audience member’s perspective, it feels like you’re all in it together, like you’re involved in the show’s process in a very real way, like you want everyone to succeed just as much as they do. It feels like you’re a part of the show’s history. The energy in a theater during previews is kinetic. I felt it when I saw opening night of previews for Singing in the Rain in London, and I felt it again on opening night of previews for Cinderella on Broadway.
That energy is amplified to some ridiculous power when the musical’s leading lady a) performed just days ago at the Oscars, b) has been all over social media lately, and c) is a Tony award-winning actress returning to the Broadway stage after nearly a decade. This is all to say, I couldn’t help myself buying a ticket to see the first night of previews for If/Then the Musical. And when I see a great show — cast, crew, and Emily Posts of theatre etiquette forgive me — I have to write about it, opening night of previews or not. I’ll try to be vague.
“If/Then” is something special, and I would definitely recommend seeing it. The cast is amazing: The applause Idina Menzel received after her sudden entrance was well earned. (The cheering went on for minutes, no exaggeration. Her opening line of “Hey, it’s me” was all too appropriate and apparent.) Anthony Rapp’s voice transports me back instantly to listening to the “Rent” soundtrack, and his character was like a perfect Mark Cohen in ten years (and in a parallel universe, maybe). And LaChanze, James Snyder, and Jason Tam — three performers I wasn’t familiar with before tonight — were incredible. Really incredible. The chorus members are also talented, and so versatile. As my friend rightly pointed out, there wasn’t one sour note. Beautiful staging and choreography.
When the show was on in Washington, DC, I read reviews that said the plot was too confusing, and difficult to follow. The Washington Post even called it a “winning blob, with many kinks to be worked out.” Both my friend and I had no trouble following the intersecting storylines at tonight’s performance; I’d be curious to know what “kinks” have been worked out, because the entire show seemed seamless.
I have a few qualms with the overall plot and how much exposition was given so quickly in the opening song — probably one of the “kinks” that was worked out, based on this New York Times article where the lead producer is quoted as saying that the first 20-25 minutes is where they think people suffered plot confusion in the DC tryout. I also feel strongly about one major event that takes place in the second act. But I’m not one for spoilers, and my concerns aren’t enough to prevent me from forcing all my friends and loved ones to go see the show. I mean, Idina Menzel sings this. Listen to it and tell me you don’t feel completely heart-bombed afterward. Go on. I’ll wait.
Actually, I won’t. For this tired theatre-goer, it’s time for bed. But if you see the show, if you want to see the show, or and especially if you saw the DC tryout and the Broadway run and can comment on the changes, then leave your thoughts in the comments. Until then, goodnight!
Allie Edits the World 