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. |
