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| re: Bandstand - WOW | |
| Posted by: lowwriter 12:46 am EDT 07/09/17 | |
| In reply to: re: Bandstand - WOW - ShowGoer 04:58 pm EDT 07/08/17 | |
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| Atrocious miking? I have no idea what you're talking about. And In Transit has to be the most mediocre musical produced on Broadway in years. | |
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| re: Bandstand - WOW | |
| Posted by: sirpupnyc 08:55 am EDT 07/09/17 | |
| In reply to: re: Bandstand - WOW - lowwriter 12:46 am EDT 07/09/17 | |
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| I don't know if it's what ShowGoer means, but the sound design seemed to me to have two settings: loud and louder. Making a sonic difference between when the band is performing and when they're not makes sense, but it was just louder and boomier than what was already plenty loud. I was fairly close on the right side of the orchestra, so maybe that's just a bad spot for the effect, but it still seemed to have started from a bad case of typical musical sound design: loud, loud, loud, and don't let anything sound like it's coming from the stage. | |
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| re: Bandstand - WOW | |
| Posted by: BroadwayTonyJ 09:23 am EDT 07/09/17 | |
| In reply to: re: Bandstand - WOW - sirpupnyc 08:55 am EDT 07/09/17 | |
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| On 5/17/17 I sat in the front mezzanine center C 114, which was ideal for this show. I had no problem with the sound. I heard every word clearly. | |
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| re: Bandstand - WOW | |
| Posted by: lowwriter 11:13 am EDT 07/09/17 | |
| In reply to: re: Bandstand - WOW - BroadwayTonyJ 09:23 am EDT 07/09/17 | |
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| I saw the show from the front mezz twice and I guess that's the best place to see the show sound and dance wise. | |
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| re: Bandstand - WOW (MILD SPOILER) | |
| Posted by: Delvino 11:51 am EDT 07/09/17 | |
| In reply to: re: Bandstand - WOW - lowwriter 11:13 am EDT 07/09/17 | |
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| I was in row D of the front mezz, and found the seats just about ideal, for Korins' work and the choreography. STAGING SPOILER When the characters' dreams begin to be realized, the extremem naturalism in the Korins designs vanish, the stage deepens, and the only realistic working set piece is a hotel door. It's a brilliant conceit for a show that's all about the tropes of MGM musicals and their deconstruction (see the authors' Playbill annotations of the score). But the show's designs -- like its dances -- are just stunning from the mezz, where both the downstage (most of act one) and then the far reaches of the upstage in act two are revealed. |
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