Beautiful is so ugly, Stephen Sondheim Theater, New York August 8th 2014
"Beautiful" is so ugly at the Stephen Sondheim Theater, due to the selfish woman in the Mezzanine in either FF9, 10 or 11 who did not turn her cell phone off and interrupted the most sensitive "sorry" moment in the show. Cell phones OFF not silent. OFF. Spell it you feral sophisticated blonde bimbo! O.F.F!! That is O with two F's.
Other than that ugly moment "Beautiful" was sublime!.
I had audience members thank me at the end of the show for telling her to turn her cell phone OFF. That is do not turn the cell phone to silent but to OFF, so as not to distract anyone. That includes no flashing or checking the time with your phone's flash light.
It is about "Respecting This Moment". "Remembering This Memory". It is about respect for everyone who has worked. toiled or laboured to buy their tickers. This includes tourists who have travelled and spent hundreds, or even thousands of dollars from Australian.
Darling "Don't get your knickers in a knot!" she said to me rudely. Twice she demonstrated how rude she was. What would Oscar Wilde write? "Once is an accident, twice is carelessness!"
I am sorry about the rant but cell phone "tinia" is so contagious. Thankfully the ushers were on to it but sadly the ushers are not magicians for those who do not turn them OFF. Spelt as O.F.F.
I write about the holistic experience of attending the theatre as John Truscott who won Oscars for his designs of "Camelot" the movie. He was passionate about the event of attending theatre and I grew up with this tradition. It is not your lounge room to chat during a show.
I write about the moment of arrival to the moment of departure from a theatre,
I picked up my "Will Call" tickets with ease and no queue and no fuss.
The Stephen Sondheim Theater is another palace with foyers (lobbies) which allow room to move and better than most Broadway theatres.
When purchasing my "Beautiful" program, I check to see if they have a cd and photo-programme offer. They did and thankfully Lisa informed me that the cd had a damaged cover as they had run out. I was impressed with that, but did not purchase the packaged deal. Lisa was very understanding that I did not want to give a damaged cover cd as present and I bought a magnet instead which I think she be a standard $5 for all shows.
I bought the photo-programme and realised when I went to read it that the cast insert was missing. I went back and asked Lisa about the missing insert and she informed me they had run out. I said that the price should have been reduced accordingly and embarrassed a couple near me. I could not care less as I was sticking up for all theatre goers. We should have been told it was missing as the product was not complete. Producers take note!
I was impressed because Lisa knew I was serious and she offered to see if she could get me one from another stall and see her at interval. I was impressed with Lisa's follow up and got the insert after the show.
At interval my partner told me of an altercation in the front Mezzanine Right AA Row where two women leant so far forward that they blocked the view of the two people in the BB Row. The people in BB Row left and ironically the two selfish woman in AA Row sat back in their seats for the remainder of the show.
Please do consider and be aware of other patrons when attending the theatre. It is a palace or a temple and not your lounge room for all to enjoy!
At interval the queue for the toilets was a circuitous route. The Ruben-esque usher was a sensational Occupational Health and Safety Officer in requesting that people keep to the right and allow space for people to gain access and egress from the toilets. She also re-assured patrons that the Stephen Sondheim Theater had the largest number of toilets and there would be a short wait.
The funny thing was that we had come from the Mezzanine on one flight of stairs and had to join the queue on the other flight of stairs.
Review:
"Beautiful" has a book by Douglas McGrath that links the magnificent catalogue of songs seamlessly. There is not one dead spot in the show due to such a strong book with seamless transitions between scenes. I saw "Dusty The Musical" in Australia and that had a heavy and detailed book with too many dead moments while "Beautiful" was succinct and had the audience humming along. We had a few lines about some major events but nothing to slow the action.
"Beautiful" has music and lyrics by Gerry Goffin, Carole King, Barry Mann and Cynthia Weil. "Beautiful" is one of the best "jukebox' musicals I have seen due mainly to the sensational music and the book.
Costume design by Alejo Vietta is naturalistic and supports the atmospheres with his modern period clothing.
Scenic design by Derek McLane is brilliantly realised with the precision sliding in of sets. The lovely touch was the rotating of the upright piano to establish the location of scenes. A simple 120 degree turn of the piano transported us to another scene. The composite set pays tribute to the original designs for "Oliver". It is the impressive sliding of the main set that really allows us to move to many locations and give new perspectives to scenes. The backdrop is really a mixture of props from recording studios etc, which gives such textured character to the sublimely remind us that this work is always about the music.
Lighting design by Peter Kaczorowski is the best lighting I have seen in show for a while as it was supportive and unobtrusive. The range of colours created various moods and also assisted in created atmospheres.
Sound design by Brian Ronan gave us a mix of sound qualities to define location and atmosphere.
Choreography by Josh Prince provided opportunities for The Shirelles and The Drifters to show their moves and grooves.
The master is the director, Marc Bruni who brought all of the creative team and cast together as the perfect project manager. Such a perfectly balanced night at the theatre for providing us an emotional journey of growth, success, disappointments and maturity. Sheer perfection!
The finale to Act One is brilliantly staged where we have two triangles of The Shirelles upstage and the Janelle was the head of the downstage triangle with Carole and Gerry. These two triangles pulsated in subliminal sexual tension back and forth, then as the dynamics were changing the triangles became more accute. A magnificent piece of choreography and staging to provide us with the obligatory tension at the end of Act One.
The cast of "Beautiful" are superb. Thankfully we had seen "Baby Its You" that featured The Shirelles and it was great to see them featured, again, here in "Beautiful." The rich bass baritone from The Righteous Brothers was devine when the duo sang "You've Got That Lovin' Feeling"
The cast had the audience in the palm of their hands as they audience sighed with personal connection to their memories of each song or were given jolts of surprised recognition when they
could not make certain connections. The book provided us with so many wonderful ways to emotionally transported.
Jessie Mueller as Carole King, is the undeniable Tony Award winner for Best Performance by an Actress in a Leading Role in a Musical for "Beautiful." Her skill as an actress, pianist and singer transports us to believing that we are watching Carole King growing up in front of us. Her voice is majestic as she channels Carole King. Pure bliss! Sheer perfection.
Jake Epstein played Gerry Goffin with measured emotional sincerity. He has a quality that sparked electrical currents of tension with Carole King. His roller coaster connection with Jessie Mueller's Carole King had us empathising with her journey.
Anika Larsen played Cynthia Weil with finesse. He voice was so melodic and rich. Playing opposite Jarrod Spector s Barry Mann provided us with some comic relief and some competition for Gerry and Carole. Together they sang with rich warmth and charm.
The supporting ensemble worked seamlessly to provide us an array of characters from Carole's life. They sang with great harmonies and assured moves.
The farewell and the use of "You've Got a Friend" was sheer perfection. I had tears rolling down my face as this was not a goodbye but a re-assurance of their enduring friendships.
Such a perfect night at the theater except the Gerry apology was interrupted by the two loud cell phone messages received noises. Who's sorry now?
Thank you to the cast and creative team for such a sensational night at the theatre.
"Beautiful" is such a perfect night of musical theatre. It is devine.
An interesting aside:
I spoke to a few of the cast after the show to tell them about how "You've Got a Friend" was used for about ten years in the late 1960s to the 1970s as the theme song for the Melbourne S.E.C. (State Electricity Commission) as it provided that re-assurance for your energy supplies. Jarrod Spector laughed and said that is funny as the S.E.C. in the USA is the Securities Exchange Commission!
Their faces lit up as I told them about the Australian connection.
The other Australian connection is that "Locomotion" was the song that escalated Kylie Minogue's fame.
"Beautiful" has a book by Douglas McGrath that links the magnificent catalogue of songs seamlessly. There is not one dead spot in the show due to such a strong book with seamless transitions between scenes. I saw "Dusty The Musical" in Australia and that had a heavy and detailed book with too many dead moments while "Beautiful" was succinct and had the audience humming along. We had a few lines about some major events but nothing to slow the action.
"Beautiful" has music and lyrics by Gerry Goffin, Carole King, Barry Mann and Cynthia Weil. "Beautiful" is one of the best "jukebox' musicals I have seen due mainly to the sensational music and the book.
Costume design by Alejo Vietta is naturalistic and supports the atmospheres with his modern period clothing.
Scenic design by Derek McLane is brilliantly realised with the precision sliding in of sets. The lovely touch was the rotating of the upright piano to establish the location of scenes. A simple 120 degree turn of the piano transported us to another scene. The composite set pays tribute to the original designs for "Oliver". It is the impressive sliding of the main set that really allows us to move to many locations and give new perspectives to scenes. The backdrop is really a mixture of props from recording studios etc, which gives such textured character to the sublimely remind us that this work is always about the music.
Lighting design by Peter Kaczorowski is the best lighting I have seen in show for a while as it was supportive and unobtrusive. The range of colours created various moods and also assisted in created atmospheres.
Sound design by Brian Ronan gave us a mix of sound qualities to define location and atmosphere.
Choreography by Josh Prince provided opportunities for The Shirelles and The Drifters to show their moves and grooves.
The master is the director, Marc Bruni who brought all of the creative team and cast together as the perfect project manager. Such a perfectly balanced night at the theatre for providing us an emotional journey of growth, success, disappointments and maturity. Sheer perfection!
The finale to Act One is brilliantly staged where we have two triangles of The Shirelles upstage and the Janelle was the head of the downstage triangle with Carole and Gerry. These two triangles pulsated in subliminal sexual tension back and forth, then as the dynamics were changing the triangles became more accute. A magnificent piece of choreography and staging to provide us with the obligatory tension at the end of Act One.
The cast of "Beautiful" are superb. Thankfully we had seen "Baby Its You" that featured The Shirelles and it was great to see them featured, again, here in "Beautiful." The rich bass baritone from The Righteous Brothers was devine when the duo sang "You've Got That Lovin' Feeling"
The cast had the audience in the palm of their hands as they audience sighed with personal connection to their memories of each song or were given jolts of surprised recognition when they
could not make certain connections. The book provided us with so many wonderful ways to emotionally transported.
Jessie Mueller as Carole King, is the undeniable Tony Award winner for Best Performance by an Actress in a Leading Role in a Musical for "Beautiful." Her skill as an actress, pianist and singer transports us to believing that we are watching Carole King growing up in front of us. Her voice is majestic as she channels Carole King. Pure bliss! Sheer perfection.
Jake Epstein played Gerry Goffin with measured emotional sincerity. He has a quality that sparked electrical currents of tension with Carole King. His roller coaster connection with Jessie Mueller's Carole King had us empathising with her journey.
Anika Larsen played Cynthia Weil with finesse. He voice was so melodic and rich. Playing opposite Jarrod Spector s Barry Mann provided us with some comic relief and some competition for Gerry and Carole. Together they sang with rich warmth and charm.
The supporting ensemble worked seamlessly to provide us an array of characters from Carole's life. They sang with great harmonies and assured moves.
The farewell and the use of "You've Got a Friend" was sheer perfection. I had tears rolling down my face as this was not a goodbye but a re-assurance of their enduring friendships.
Such a perfect night at the theater except the Gerry apology was interrupted by the two loud cell phone messages received noises. Who's sorry now?
Thank you to the cast and creative team for such a sensational night at the theatre.
"Beautiful" is such a perfect night of musical theatre. It is devine.
An interesting aside:
I spoke to a few of the cast after the show to tell them about how "You've Got a Friend" was used for about ten years in the late 1960s to the 1970s as the theme song for the Melbourne S.E.C. (State Electricity Commission) as it provided that re-assurance for your energy supplies. Jarrod Spector laughed and said that is funny as the S.E.C. in the USA is the Securities Exchange Commission!
Their faces lit up as I told them about the Australian connection.
The other Australian connection is that "Locomotion" was the song that escalated Kylie Minogue's fame.
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