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| THE MUSIC MAN Last Night | |
| Last Edit: sergius 11:42 pm EST 02/09/22 | |
| Posted by: sergius 11:28 pm EST 02/09/22 | |
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| It’s 1958 in the Winter Garden Theatre. THE MUSIC MAN is a revival in the truest sense: it brings back time. What you think it is is what it was. Like a lot of shows from this period, THE MUSIC MAN is sentimental about the prospect of America, a time when hope, like a prairie, went on and on. It chides selfishness and exalts communal values. It believes our ills can be cured by goodwill. And honesty. And love. Today, these ideals can only be quaint. More than a slight on THE MUSIC MAN, this is, sadly, a slight on America. I have no substantive familiarity with the show, but what interested me most here was how Willson elides song and speech, how they move effortlessly back and forth. In particular, "Rock Island", a sort of gloss on a patter song but with rhythm and tempo foregrounded, is really startling, in itself and as a kind of precursor to contemporary rap forms. Beyond this interesting surprise—to me at least—the other pleasure here is watching Jackman and Foster be charming. Neither is ideally cast—he is not nearly convincing as a con man and she can only appropriate peevishness—but they bend the show to their willful talents. There’s something comforting about this kind of professionalism. These two are working for you; they want to give you what you want from them. And they do. They, and all here, are on the same yellowed page. THE MUSIC MAN is, once again, the best musical of 1958. | |
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| re: THE MUSIC MAN Last Night | |
| Posted by: singleticket 12:16 pm EST 02/11/22 | |
| In reply to: THE MUSIC MAN Last Night - sergius 11:28 pm EST 02/09/22 | |
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| I don't think it is about community, goodwill, love and honesty as much as "harmony". And "harmony" as something that isn't natural but a construct and something that needs to be learned either through music lessons or a confidence trick. | |
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| re: THE MUSIC MAN Last Night | |
| Posted by: pookndale 10:24 pm EST 02/10/22 | |
| In reply to: THE MUSIC MAN Last Night - sergius 11:28 pm EST 02/09/22 | |
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| What did you think about the Finian's Rainbow revival? My wife and I felt like we had sat through the best musical of 1947 and were not happy about it. We bought Music Man tickets twice, but then decided not to wait for the reviews (reviews of Finian's Rainbow were good) but for All That Chat before biting again. If you saw both, how do they compare? Thanks. | |
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| re: THE MUSIC MAN Last Night | |
| Posted by: sergius 10:25 am EST 02/11/22 | |
| In reply to: re: THE MUSIC MAN Last Night - pookndale 10:24 pm EST 02/10/22 | |
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| Well, I remember seeing Finian's Rainbow, but I don't remember much about it which is probably telling. | |
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| re: THE MUSIC MAN Last Night | |
| Last Edit: Delvino 08:27 pm EST 02/10/22 | |
| Posted by: Delvino 08:25 pm EST 02/10/22 | |
| In reply to: THE MUSIC MAN Last Night - sergius 11:28 pm EST 02/09/22 | |
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| "...but they bend the show to their willful talents. There’s something comforting about this kind of professionalism. These two are working for you; they want to give you what you want from them. And they do." If I had to guess at a theme though the reviews -- which we presume will spill forth in 24-72 hours -- it will be this thoughtful appreciation. The production arrives with the stars' unimpeachable good will a part of its DNA. They endured a postponement, a cast unable to assemble together for early previews, both leads weathering infection and illness, and then a tentative return after a shut-down This costly, high ticket entertainment celebrating both Broadway's musical theater legacy and the industry's ability to re-launch with a needed mega-hit, is a specific kind of root-for. The stars are beloved, if for different reasons, and together they're very special right now: their earnest desire to give us what we're plunking down our money for is no small part of the event. |
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| re: THE MUSIC MAN Last Night | |
| Posted by: jo 08:59 pm EST 02/12/22 | |
| In reply to: re: THE MUSIC MAN Last Night - Delvino 08:25 pm EST 02/10/22 | |
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| What is interesting is how social media is reacting to the way the two leads are delivering their roles. Many are familiar with Hugh Jackman as an actor of both screen and stage and his portrayal of Hill is not compared that much with Preston... but as another challenge to his acting & performing skills (remember how The Greatest Showman became a worldwide sensation)?. Plus it is hard to deny that part of the fascination with Hugh is his popularity especially in movies. Unless theatre fans, many are not that familiar with Sutton but they are discovering her competence and likability in the show. The most common reaction is the extreme sense of joy that this show is giving audiences. That I why I think this revival will end up like how The Greatest Showman became a beloved movie, despite its mid-level critical scores. | |
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| re: THE MUSIC MAN Last Night | |
| Posted by: Chromolume 08:33 pm EST 02/10/22 | |
| In reply to: re: THE MUSIC MAN Last Night - Delvino 08:25 pm EST 02/10/22 | |
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| The production arrives with the stars' unimpeachable good will a part of its DNA. For those people that think they might not want to see a musical about a con man after the last presidential administration, your use of the word "unimpeachable" is intriguing...;-) |
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| re: THE MUSIC MAN Last Night | |
| Posted by: peter3053 06:16 pm EST 02/10/22 | |
| In reply to: THE MUSIC MAN Last Night - sergius 11:28 pm EST 02/09/22 | |
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| Good thoughts on The Music Man - but I don't believe its values are quaint; they remain true: we need to get on with goodwill, honesty and love, and overcome hate. There's only one way to a loving society. It is always better to have faith in people and be let down, rather than to be always fearful of people and never look at them with hope. | |
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| re: THE MUSIC MAN Last Night | |
| Posted by: Singapore/Fling 06:21 pm EST 02/10/22 | |
| In reply to: re: THE MUSIC MAN Last Night - peter3053 06:16 pm EST 02/10/22 | |
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| It’s better to be conned than be wary of the con artist? | |
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| re: THE MUSIC MAN Last Night | |
| Posted by: peter3053 11:17 pm EST 02/10/22 | |
| In reply to: re: THE MUSIC MAN Last Night - Singapore/Fling 06:21 pm EST 02/10/22 | |
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| Yes. Because that's on his conscience not your own. |
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| re: THE MUSIC MAN Last Night | |
| Posted by: Singapore/Fling 12:17 am EST 02/11/22 | |
| In reply to: re: THE MUSIC MAN Last Night - peter3053 11:17 pm EST 02/10/22 | |
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| But you’re the one who has to live with the consequences. | |
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| re: THE MUSIC MAN Last Night | |
| Posted by: peter3053 02:35 pm EST 02/11/22 | |
| In reply to: re: THE MUSIC MAN Last Night - Singapore/Fling 12:17 am EST 02/11/22 | |
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| Believe me, the con man has the worser life. | |
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| re: THE MUSIC MAN Last Night | |
| Posted by: Singapore/Fling 12:13 am EST 02/12/22 | |
| In reply to: re: THE MUSIC MAN Last Night - peter3053 02:35 pm EST 02/11/22 | |
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| Only if they have a conscience. And while the con man might have "the worser life", your life's pretty shitty too if the con man took your money, your trust, and/or your physical safety. | |
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| re: THE MUSIC MAN Last Night | |
| Posted by: peter3053 11:40 pm EST 02/12/22 | |
| In reply to: re: THE MUSIC MAN Last Night - Singapore/Fling 12:13 am EST 02/12/22 | |
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| No, because you still look on people as redeemable and you have hope. Much better. Much better for society, too. | |
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| re: THE MUSIC MAN Last Night | |
| Posted by: MockingbirdGirl 04:32 pm EST 02/10/22 | |
| In reply to: THE MUSIC MAN Last Night - sergius 11:28 pm EST 02/09/22 | |
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| Neither is ideally cast—he is not nearly convincing as a con man and she can only appropriate peevishness Disclaimer: I haven't seen the show... but this seems like a very astute observation. |
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| re: THE MUSIC MAN Last Night | |
| Posted by: toros 12:05 pm EST 02/10/22 | |
| In reply to: THE MUSIC MAN Last Night - sergius 11:28 pm EST 02/09/22 | |
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| Whatever the merits of the source material are, and they're considerable, this revival undermines them at every turn. The design is ugly with conspicuous "squares" in the drops, the book scenes are rushed, the choreography is energetic but doesn't grow naturally out of the songs (which, in the original, emerege elegantly from the book scenes), the staging is flat, the humor is forced, and the two leads, to my disappointment, have substituted "fake crack-ups" instead of earning the laughs, which I haven't seen since Ann Miller and Mickey Rooney in Sugar Babies. Of course, the audience loves fake crack-ups, feeling like they're in on something, but it smacks of desperation. The entire production is mechanical, without a genuinely felt moment. | |
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| re: THE MUSIC MAN Last Night | |
| Posted by: Delvino 09:07 pm EST 02/10/22 | |
| In reply to: re: THE MUSIC MAN Last Night - toros 12:05 pm EST 02/10/22 | |
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| The Steve and Eydie stuff -- see Rainbow, Golden -- seems odd so early in this year's run. It worked with the last mega-bucks revival, but Midler and Jackman are not the same kind of stars. Midler played both Dolly Levi and Bette-playing-Dolly-Levi in the same performance, and moved between the two takes almost effortlessly. She could back up to the proscenium, panting, and it was a meta comment on the title number's demands, and her own winking need to remind us that she's a consummate entertainer who lets us see her sweat. "Yes, it's me, I'm up here, folks!" Bette got away with. But Jackman's appeal is more about his triple-threat street cred, and the role he's given himself to unstintingly. If he's survived 19 months of shutdown and even his own Covid infection and is ready to step out of the character already? That's probably not what many are paying $700 to see. But hey, I could be very wrong. If so -- if these two stars succeed in these step-outs, and do what Midler did as successfully, I'll take back my post. | |
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| re: THE MUSIC MAN Last Night | |
| Posted by: jo 02:42 am EST 02/13/22 | |
| In reply to: re: THE MUSIC MAN Last Night - Delvino 09:07 pm EST 02/10/22 | |
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| Hugh Jackman saved The Boy From Oz from the universal critical pan that the show received, by repositioning it to include many break-the-the-wall incidents. Which people loved! He did the same thing for BackOnBway and was equally successful. But I am not seeing this show for his triple-threat talent only. Nor for those 4th wall incursions! While it is true that I first saw him live in Oklahoma! in London, I did not even know him then. It was when I finally discovered his filmography that I became interested to follow his body of work. He is particularly good in drama, action, comedy ( including dark comedy) and eventually proved his worth in musicals ( stage & film). Two diametrically opposites are favorites - Logan & Les Miserables! He is arguably one of the most versatile actors these days - maybe even the one with the greatest range - as he has proved his versatility in both film and stage ( and even concert tours). I am keen to see The Music Man because I want to see again an actor/performer whose range is immense and who is very dedicated in sharing his talent with the audience. Btw, if you haven't see him in Prisoners or The Fountain or Logan or Bad Education - give them a viewing...and see how he can show the depths of his acting talent. |
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| re: what does "squares in the drops" mean? (nmi) | |
| Posted by: ilw 12:54 pm EST 02/10/22 | |
| In reply to: re: THE MUSIC MAN Last Night - toros 12:05 pm EST 02/10/22 | |
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| nm | |
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| re: what does "squares in the drops" mean? (nmi) | |
| Posted by: toros 01:29 pm EST 02/10/22 | |
| In reply to: re: what does "squares in the drops" mean? (nmi) - ilw 12:54 pm EST 02/10/22 | |
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| What I meant is that drops in most shows are, or look to be, of one piece. Some of the MM drops look "pieced together," and square panels are visible. I'm pretty sure these "squares" are not meant to be conspicuous, as they are not in all of the drops. Word is that Mr. Zaks is not happy with the sets. I'll see if I can find a photo and post a link to better explain. | |
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| re: what does "squares in the drops" mean? (nmi) | |
| Posted by: ilw 02:08 pm EST 02/10/22 | |
| In reply to: re: what does "squares in the drops" mean? (nmi) - toros 01:29 pm EST 02/10/22 | |
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| Thanks! That was helpful. | |
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| re: THE MUSIC MAN Last Night | |
| Last Edit: Roman 11:48 am EST 02/10/22 | |
| Posted by: Roman 11:45 am EST 02/10/22 | |
| In reply to: THE MUSIC MAN Last Night - sergius 11:28 pm EST 02/09/22 | |
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| I liked it. Didn’t love it. The scenic design is drab. DRAB. I don’t understand the red barn wall — it really shuts us off from the stage. It’s not welcoming. Hugh is miscast and doesn’t quite pull it off. He’s trying real hard to make it look effortless. Too hard. He’s very pretty but there isn’t much a performance in his performance. It’s Hugh being Hugh rather than Hugh playing Harold Hill. Sutton is giving a fantastic and very funny performance, though vocally she’s all wrong (which I think even she has acknowledged). But her charm and funny portrayal more than makes up for it. She’s a winner. Iowa Stubborn is a disaster. It’s our first view of these Iowa characters and the staging of it brings the energy Rock Island began to a halt. The tempos of the songs are slower, it seemed. Can anyone with a better ear confirm? Seemed slower to me, which took some zest out of the piece. As do the rewritten lyrics. Marian The Librarian is 5-minutes of absolute joy and the highpoint of the show. The extended applause from the audience was well-earned. Man, I could watch that again and again. And woe unto those who decided to cut “It’s You”. The song isn’t even two minutes long! Why go through the trouble of staging a revival of The Music Man and cut this charmer? I don’t understand this decision at all. It may add nothing to the plot, but man is it charming. Why on earth would you take a charmer outta the show? It actually kinda pissed me off. Like Thanksgiving dinner with no gravy or pumpkin pie. It’s a fine production, with its highlights. And the audiences will eat it up (if only to justify the scandalous amount they paid for tickets). But man this could have been so much better. It certainly is NOT worth what they have the nerve to ask us to pay for tickets. But The Music Man is tried and true. If only they tried a little more. |
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| re: THE MUSIC MAN Last Night | |
| Last Edit: Delvino 09:11 pm EST 02/10/22 | |
| Posted by: Delvino 09:11 pm EST 02/10/22 | |
| In reply to: re: THE MUSIC MAN Last Night - Roman 11:45 am EST 02/10/22 | |
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| Please, please, amplify how the Foster vocals disappoint. This was the most discussed element for two years, prior to the first preview, and I've yet to understand how her instrument isn't working. Is the resulting sound here pinched, harsh, strained? Is she uncomfortable and must reach (like Peter's famous shaky note in Song and Dance?) Are the songs not pretty because they're belted? I'm begging someone to explain. | |
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| re: THE MUSIC MAN Last Night | |
| Last Edit: Roman 09:46 pm EST 02/10/22 | |
| Posted by: Roman 09:41 pm EST 02/10/22 | |
| In reply to: re: THE MUSIC MAN Last Night - Delvino 09:11 pm EST 02/10/22 | |
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| I don’t have a trained ear, mind you. But, when she goes into her soprano voice it resonates as “tinny”. How is disappointing? She’s given what is arguably one of the greatest love songs in the American Musical Theatre. You WANT to be carried to the roof of the Winter Garden on the last note. You want to jump up and give it the extended ovation. You are desperate to see this uptight character really let loose. That final note? Ecstasy. If and when it’s delivered by a lush soprano like Cook and Luker. So, for me, a Music Man devotee, half the disappointment in Foster’s soprano is the sound. The other half is the lack of it. She is giving the best performance of the night. Don’t get me wrong. She makes a very funny Marian ( a role that isn’t traditionally funny). She mines every bit of humor from the role, humor I didn’t see was there until Sutton. |
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| Charmless | |
| Posted by: Genealley 03:38 pm EST 02/10/22 | |
| In reply to: re: THE MUSIC MAN Last Night - Roman 11:45 am EST 02/10/22 | |
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| It's the key element that's missing in this production. We don't feel much for anyone. It's kind of a nasty plot. Conman is duping an entire town and against all odds, the smartest woman in town falls for him just because she's lonely and resigned to her lot. The whole plot turns on the fact that this clueless town falls for his con against all odds. If you don't care or even LIKE these people, there's not a lot to root for. Hell, they get what they deserve. But in the original, we grow to care about the town and the people. Even though they're cranky, they are homey (albeit VERY midwest conservative) and upright and have their sweet idiosyncracies. And part of that charm is reinforced in the use of the Barbershop Quartet. To take out even a bit of one of their songs is sacrilege! There seems to be no time to develop any feelings for anyone in this prod. Everything is rushed, efficient and quickly on track to get to the next bloated, tuneless, charmless dance number. And, you're right....don't get me started about that set and "main curtain". Let's kill the charm right when the audience enters the theatre and sits in the seats! I would pay to see Hugh sit at a table and talk to me for an hour. He's one of the more delightful stars around. But here, they don't give him a moment to "charm". He's so BUSY all the time. He's just run ragged. And as I've said before, he really looks like he needs a sandwich! Sure Sutton's voice is not what was written. But IMHO, she worked around it just fine. And her straight-on approach to the role totally won me over. She really accepts him for what he is and she accepts her lot for what it is and she makes it work for her. It's actually a very modern take on the role. She's the star of the show and her story is the interesting one. But why, oh why, does she have to do a Reno Sweeney tap dance at the curtain call. I just don't get it, except for giving the audience their overpriced money's worth. Our newly enlightened arts administrators (see ENCORES!) seem to want to banish "old style" musicals to the dust bin, claiming they aren't relevant, woke or representative of the world. Sometimes all you want in your musical is a bit of grace and charm...and fun. |
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| re: Charmless | |
| Posted by: finally 09:15 am EST 02/11/22 | |
| In reply to: Charmless - Genealley 03:38 pm EST 02/10/22 | |
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| I felt Zaks really sucked a lot of the charm out of Hello, Dolly, too. Many of the book scenes were very rushed, so much so that jokes that have landed for forever in other productions were glossed over and became titters at best. It's like he is trying to layer the direction style of Guys and Dolls on every other show from yesteryear, which doesn't quite work. | |
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| re: Charmless | |
| Posted by: AnObserver 08:36 am EST 02/11/22 | |
| In reply to: Charmless - Genealley 03:38 pm EST 02/10/22 | |
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| I wonder if his friend Ivanka will attend this show about a command? | |
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| re: Charmless | |
| Posted by: Roman 09:55 pm EST 02/10/22 | |
| In reply to: Charmless - Genealley 03:38 pm EST 02/10/22 | |
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| Boy, did you nail it. It’s the charm that’s missing. And it’s a show ABOUT a charmer, isn’t it. The whole show needs us to be charmed. And we so want to be. But there’s a giant red wall in the way. The symbolism of that wall, of how the charm is inaccessible, how there’s a detached quality to the entire thing. From the get go, we’re in trouble. Someone else above mentioned the bust-ups. I couldn’t agree more. Completely unprofessional and entirely manipulative and desperate. Why TF is there a tap number? Hugh’s ego demanded it? Come on. And did I mention how much woe I wish upon the “creatives” that cut a song from a classic American score? I can’t tell you the depth of my disdain for those individuals who cut “It’s You”. The f*cking gall. Cut the unnecessary tap number and put “It’s You” back in. Just UGH. |
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| re: Charmless | |
| Posted by: Chromolume 08:29 pm EST 02/10/22 | |
| In reply to: Charmless - Genealley 03:38 pm EST 02/10/22 | |
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| Genealley - I sincerely want to thank you for this post. You do something I feel you don't often do - actually take the time to discuss your feelings about a show in detail, instead of just giving it a quick laconic rating. It's great to truly understand your take on this production and the original as well. Thank you for posting this. | |
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| Blush | |
| Posted by: Genealley 11:45 pm EST 02/10/22 | |
| In reply to: re: Charmless - Chromolume 08:29 pm EST 02/10/22 | |
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| Aw...pshaw... | |
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| re: Charmless | |
| Posted by: markdr 06:28 pm EST 02/10/22 | |
| In reply to: Charmless - Genealley 03:38 pm EST 02/10/22 | |
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| His charmlessness has been evident in rehearsal clips that have been available - he looks out to the audience with a plastic smile on his face. | |
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| re: Charmless | |
| Posted by: reed23 05:52 pm EST 02/10/22 | |
| In reply to: Charmless - Genealley 03:38 pm EST 02/10/22 | |
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| "The smartest woman in town falls for him just because she's lonely and resigned to her lot." Actually, her eyes are suddenly opened when she sees her withdrawn, self-conscious, sad little brother explode with verbose excitement at the arrival of the band instruments and clothes. It's at that moment that she sees something in Hill that he doesn't believe himself – that his con can transform lives for the better. And it's at that moment she decides to withhold the damning evidence of his con. Winthrop is the centerpiece of the plot – it's his reaction at the end of Act One that opens Marian's eyes; and it is to him that Hill, for the first time in his dubious career, admits his fraud to anyone other than his longtime friend Marcellus. And it is to him that Hill reveals that he lives partly in the dreamworld he creates for his marks ("I always think there's a band, kid.") |
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| re: Charmless | |
| Posted by: Singapore/Fling 06:26 pm EST 02/10/22 | |
| In reply to: re: Charmless - reed23 05:52 pm EST 02/10/22 | |
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| "I always think there's a band, kid." It’s a very Trumpian sentiment, you have to admit. |
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| re: Charmless | |
| Posted by: KingSpeed 11:42 pm EST 02/10/22 | |
| In reply to: re: Charmless - Singapore/Fling 06:26 pm EST 02/10/22 | |
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| How so? | |
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| re: Charmless | |
| Posted by: Singapore/Fling 12:19 am EST 02/11/22 | |
| In reply to: re: Charmless - KingSpeed 11:42 pm EST 02/10/22 | |
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| The liar who believes his own lies and therefore convinces himself he’s not lying. It’s not a con if the conman thinks he’s going to deliver, even though he’s run this con all over the Midwest and has never delivered? Come on. I always think there’s a band is up there with this hurricane tracker clearly shows the storm’s path is what I said it was. |
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| You're more optimistically than I | |
| Last Edit: Genealley 06:15 pm EST 02/10/22 | |
| Posted by: Genealley 06:14 pm EST 02/10/22 | |
| In reply to: re: Charmless - reed23 05:52 pm EST 02/10/22 | |
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| I'd like to think that Marian feels he could change, but I feel that deep down she knows he probably won't. Especially after Charlie Cowell lets her in on his history. I don't think that ending resolves the issue. We're seeing things through her eyes...not his. |
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| re: You're more optimistically than I | |
| Posted by: Roman 09:57 pm EST 02/10/22 | |
| In reply to: You're more optimistically than I - Genealley 06:14 pm EST 02/10/22 | |
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| You mean the tap number isn’t an interpretive dance of how he’s step-ball-changed his ways? Perhaps it symbolizes how she’ll be tapping his feet at his excuse for coming home late? (Note:the tap number is insipid and unnecessary.). | |
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| re: You're more optimistically than I | |
| Posted by: Chromolume 08:33 pm EST 02/11/22 | |
| In reply to: re: You're more optimistically than I - Roman 09:57 pm EST 02/10/22 | |
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| Perhaps it symbolizes how she’ll be tapping his feet Now there's an interesting trick. Tap dancing on top of someone else's feet? |
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| re: THE MUSIC MAN Last Night | |
| Posted by: mamaleh 11:28 am EST 02/10/22 | |
| In reply to: THE MUSIC MAN Last Night - sergius 11:28 pm EST 02/09/22 | |
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| Yours is a spot-on analysis. But I disagree that Jackman is not convincing as a con man. Why? Because he smiles a lot and appears jovial in his interactions with the townspeople? To me, that’s a very effective way to insinuate oneself with a “reticent” (to borrow from Eulalie) population, all the better to win them over with seemingly heartfelt but phony camaraderie. | |
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| re: THE MUSIC MAN Last Night | |
| Posted by: peter3053 06:29 pm EST 02/10/22 | |
| In reply to: re: THE MUSIC MAN Last Night - mamaleh 11:28 am EST 02/10/22 | |
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| As someone wise once said, "You can't be a successful con man with a dishonest face...." | |
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| re: THE MUSIC MAN Last Night | |
| Posted by: readers12572 02:58 pm EST 02/10/22 | |
| In reply to: re: THE MUSIC MAN Last Night - mamaleh 11:28 am EST 02/10/22 | |
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| I was there last night and agree with all of the above. This was an "intellectual" experience for me, not an "emotional" one as I felt during The Producers, Avenue Q, Hairspray and some of the recent "Motown" inspired shows. Jackman didn't have an ominous presence in my opinion and I kept "seeing" Mary Tyler More in Sutton's appearance. I couldn't fathom how the Irish actress, Marie Mullen could be the mother of an 8-10 year old boy and how he could be Marion's brother. The only time I felt truly emotionally connected to this show was pre-curtain call when the excellent Benjamin Pajak, stood by himself on the stage. | |
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| re: THE MUSIC MAN Last Night | |
| Posted by: ThePinkSuperhero 07:56 am EST 02/11/22 | |
| In reply to: re: THE MUSIC MAN Last Night - readers12572 02:58 pm EST 02/10/22 | |
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| “ I couldn't fathom how the Irish actress, Marie Mullen could be the mother of an 8-10 year old boy and how he could be Marion's brother.” This was an issue for me too. Schmigadoon ruined me, I was waiting for a “he’s my SON!” reveal. |
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