And fully understanding all of the objections and reservations (except about the actual music -- which I don't get, since I find it mostly thrilling), I was in its thrall. Yes, it's predictable, it's drifts toward boilerplate plotting in places, and abandons some of its stabs of daring after the intermission -- it almost runs out of time in the middle of the second act, when it needs a bit of a breath before a windup. But it's so heartfelt, and the production so expertly manages the dance-driven, visual storytelling -- riding a wall of almost non-stop music -- it's just lovable, start til the final moments.
Whole company in, all in fine form and voice. Cott -- who carries not only the story but the show's heart and heartbeat -- is remarkable. I've nothing new to add to those besotted with his performance except to say: it's the real deal. He plays the book scenes with an understated reality, and lets the music push him into the emotional corners, both the darkest revelations and those that allow him to explode with delight. At the end of the first act he must rally a despondent group who just had the wind knocked out of them, and he makes it a moment of genuine, illuminating personal triumph for this damaged GI. Nothing in act two is quite as moving, but the moment and the song ("Right This Way") inform the rest of the show's drive. Osnes sings with great range and power, and matches Cott expertly.
Very subjective: I wouldn't have minded a *less* satisfying ending, as crazy as that sounds. But this show wants to leave us happy, and why complain about that?
House was about 75%, but heavily discounted. Go now if you want to see this sweet, sad, love of a show. |
