| SUFFS last night | |
| Posted by: student_rush 11:07 am EDT 05/23/24 | |
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| A very interesting feeling crept over me while watching SUFFS: "This is completely competent and considered, with solid performances and serviceable design, music and book that are speaking in harmony ... and I'm not sure I'll ever think about this show again." SUFFS is a solid musical in construction and execution (unlike the train derailment that was LEMPICKA), but it exists solely and unequivocally in the shadow of the much-superior HAMILTON. In every way? It even sounds like HAMILTON -- did no one ever point that out to anyone on the team? At one point (and unprompted), my friend leaned over to me and whispered, "She's her 'Washington,' and the 'President' is 'King George.'" I left the theatre singing HAMILTON. SUFFS never offers anything that supersedes the craft or pleasure of HAMILTON, so it exists sort of as a weak companion piece chasing the tails of her more successful older brother. I'm more interested if this conversation ever occurred within the team, as it's such an obvious weakness in the meta-producing aspects of bringing it to Broadway (in the same way that bringing both GATSBYs to New York must be an active producing conversation, regardless of craft). I think SUFFS will find success regionally and in academic and community environments, but being produced on Broadway a block away from a cultural juggernaut is not doing this material any favors. And it's a fine show! |
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