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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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