Sounds like they are still fighting against using what worked so well the first time. This show has always been an example of constantly trying to fix what wasn't really broken.
Before it went to Broadway. It was a completely different show and a smash hit from the Aleey production , to the concept double-D, to the first tour, it generated a tidal wave of buzz to Broadway. After the first tour try-out, they couldn't stop revising and restaging the show until it was virtually unrecognizable on Broadway.
I don't think there was a single bad review of the two original productions in Houston (both at The Alley and The Music Hall). Both of those productions were considered to be very successful and work very well.
I'll be reviewing the show this week in Houston, and I'm excited! I got to interview Constantine Maroulis a few weeks back, and that was a great experience. I love this show and hope I love the new production.
It is the La Mirada production; however, it may have already been changed some. The whole point of this tour is to work out the kinks and rework anything that doesn't work so it can have a glorious opening on Broadway next Spring.
It's a Frank Wildhorn show. People either LOVE it or HATE it. I, for one, absolutely LOVED this production from the first notes of the show to the final curtain call. It is a different production, but the same show. They should not be calling it a "revisal". It is definitely a revival with some changes, but it is pretty much the same show. I personally did not think it was commercial crap... I thought it was a great and solid production with three stellar leads. That's just me though.
Got a chance to see the show in La Mirada a 2nd time during the last week and sat in the cheap seats ($22). I came away liking it a touch more overall than the first time and was more impressed with Constantine while being slightly less impressed with Deborah Cox. The reprise (I think it was the reprise) of "Alive" was done really well. Constantine ended the song more in the traditional singing manner than with the yell he had used previously. My hope is he (or the creative team) is experimenting and will end up with this version. His "This Is The Moment" was plain nailed and most impressive as well.
Deborah was good throughout, very good. However, her "A New Life" was not quite in the really good category as it seemed she struggled to finish. It could have been me sitting in the cheap seats, but I don't think so.
After sitting in pretty good seats in San Diego (3rd time seeing the show), I am more impressed and more optimistic.
^ You are lucky you got to see it multiple times! I was planning on seeing both shows on Saturday, but flying standby NEVER goes as planned. Hell I was lucky to get there in time for the evening show! Though looking back, seeing the show twice in one day might have done me in since the show is so intense, dark, and depressing. I definitely walked away feeling a little out of touch with reality- same way I felt after watching Black Swan the first time. It is a VERY intense show.
I then got to see the show in San Diego on Sunday (saw Allegiance too.....which has LOTS of potential). Constantine was every bit as good as the last time in La Mirada but did not finish "Alive" or its reprise the way I would prefer this time. He screamed the last notes very well though! If there's such a thing....
Teal Wicks has been phenomenal each time I have seen the show. In "Take Me As I Am", she seems to outshine Constantine in the beginning, but by the end Constantine shows he can sing with with her - and really finishes strong and impressive.
Deborah Cox more than made up for any falling short previously in "A New Life" as she flat sang it this time in a way that has made a bona fide fan of me. She finished strong, clear and got maybe the biggest applause outside of "In His Eyes", which was also outstanding. If I had any doubt about Deborah's ability, it is gone now. As for her acting, I did not once get the impression she was lost or looking to her next line. She acted the part very well, appeared to be very comfortable on stage and was very believable in the role.
Back to her singing - while the rasp I have heard previously is still there, I don't find it objectionable in this role. My lone wish for her is to finish "Someone Like You" more traditionally. She finishes in a R&B style that would be fine on a cover of the song....but is not my preference here. Otherwise, I would take Sunday afternoon's performance - acting, singing, stage presence - every single time. She was good! Maybe I'm simply in love with her....I allow for that possibility.
I have given thought to "Confrontation" and still like it. So what if it's over the top? Over the top doesn't have to equate to something negative. I would like this version to be scaled back though. There is a point where it is so chaotic, with sound effects and reverberations that sound like a locomotive is running by, that combined with all the craziness of the projections it gets really messy. However, I can see where they are going with this version. Jekyll is experiencing true insanity and up until this point of the show has traveled a route that would make anyone go berserk. The "confrontation" escalates to a degree no one can fathom and you see Jekyll begging for it to just stop. I like this approach and think it's effective. I think they can achieve the same thing though by dialing back everything that's going on and gain the benefit of allowing the music and voices to come through better, which is something I have always liked.
Overall, I thought the show flowed better. The sound was better in San Diego too. Maybe it was the seat location, but everything seemed to be tighter and synchronized - and just better! I clearly enjoyed my 3rd showing the most.
Here's an interview with Deborah Cox, they also have the first production photo of the new looking "Bring on the Men" for those curious (with the web). Houston Chronicle
The tour has 4 traveling musicians: Conductor/Keyboards: Steven Landau Associate Conductor/Keyboard I: Jeff Tanski Guitar: Nick DiFabbio Percussion: Lee Appleman Music Contractor: David Lai
Each tour city then provides local musicians to fill out the orchestra, the number of which will vary in each city.
you mean 4. The music coordinator does not travel with the show. David Lai works on Phantom on Broadway. He deals with the local contractors in each city who hire local musicians to fill out the pit, among other things.
DEClarke, I have read some very positive things from other Houston critics. They just aren't shy about listing parts they didn't like. I only read one bad review from Houston (so far) but it seemed very biased and almost a personal attack on Maroulis so would throw that one out.
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joined:5/17/03
Posted: 10/8/12 at 05:35pm