Is the disappointment with Finnegan about her interpretation, which was clearly explored during rehearsals, or her execution? Actors nail their approach to character as a show is put on its feet; creative decisions are made about who the character is, what she wants, how she achieves her goals. In performance, adjustments are made in size, in shape of the evening, in finding moments. But a characterization is generally found early and then built upon. People expecting her to re-find this woman in front of an audience are not understanding technique (and direction) or the purpose of previews. I would guess her performance will acquire proficiency and stature, but that her Hannigan was decided weeks ago. So is the problem with her characterization or her demonstration of musical comedy chops, i.e. her comfort with the demands of the show?
Does anyone know if Lilla also plays Annie on the Saturday matinees or if there's an alternate? I don't want to go this Sat if she's not in. Thanks in advance!
one thing I noticed thanks to playbillvault.com, is that every orphan understudies another orphan. I know there's one standby for Annie, Pepper, Duffy & July, but if one orphan is out sick, it looks like it'll cause a chain reaction.
ORPHAN U/S LIST: Jaidyn Young - Standby for Annie, Pepper, Duffy & July. Taylor Richardson(Duffy) - u/s Annie Madi Rae DiPierto(July) - u/s Kate Tyrah Syke Odom(Kate) - u/s Mollie Juhan Jang(Tessie) - u/s Mollie
Auggie- For me personally it was a combination of the two. Vocally I think she was a little uncomfortable with "Little Girls." This aspect I think can be fixed during previews.
The exaggerated drunkeness was definitely a character choice, and maybe that won't change during previews. I thought many of her jokes didn't land. The timing/delivery needs honing and that can definitely happen over previews.
It felt like she was finding her footing, and for me, what she was trying wasn't working.
Thought the whole thing was incredible, besides the mansion scenes (mostly confusing as to what the set was trying to accomplish), although it was surly brought together in full force once the Christmas tree was brought in and the room was lit in twinkling lights.
One of my favorite parts were the orphans in Easy Street. Very clever and actually hilarious. What was an issue was the car. What an odd exit!
The snow globe in NYC was very cute, although it had a more extended purpose previously, but such was cut. Hopefully they will fill in the gap soon. I did not like the empty marquees for the Roxy. Very bare. Didn't feel like New York City. What really sold the number to me was Star To Be. Her performance was incredible, really touched me. Truly captivated. Such a singular moment, but stood out, even today.
I love how the tap dancing was suggested and sort of teased a couple of times, leading up to a big number in the end. Well worth the wait.
The orphanage set, the whole lower east side and bridge, absolutely gorgeous. Its movement was so clean. Lit with such grungy splendor!
The orphans were hilarious.
The orchestrations brilliant. The overture was awkwardly short. Enjoyed the video reel. The projections were very well incorporated.
Lighting was swell, complimented all the elements.
Costumes were very good, although, a comment about the hair, I was so confused as to what Hannigan's hair was doing in her first entrance. Loved Annie's hair, and the change at the end.
I say it is premature to start writing-off Katie Finneran's Miss Hannigan.
I was dating a cast member of the 2010 Broadway revival of PROMISES, PROMISES and attended literally EVERY single preview performance including the first one and I can say, Finneran tweaked her Marge McDugall at EVERY single preview performance. Her final version was literally entirely different from the version she first performed. She toned down, played up, and added so many little nuances during the preview stages of PROMISES, PROMISES (adding that hilarious leg lift during her dance break late in previews) that I'm sure this will also be the case with ANNIE. She feeds off the audiences and as the consummate theater performer, she will use this preview period to test things out before she creates her final version of Miss Hannigan. I'm sure there will be costume and make-up modifications as well. Its Katie Finneran, folks. She knows what she's doing.
Bernadette Peters' wig and costumes were modified during previews of the Sam Mendes revival of GYPSY. Even Sutton Foster's opening costume was changed during previews of THOROUGHLY MODERN MILLIE (she originally made her entrance wearing overalls).
Previews are a time to made modifications based on audience response. I'm sure the Overture will be added back. Most likely played to full hilt as that newsreel plays (a simple compromise that keeps both), and I'm sure the Asian stereotyped Lily St. Regis will be fixed, too.
Katie F is one of those actresses that really takes advantage of previews to hone in her character and feel out her performance. I think that is part of the reason she has been so great in the past. As others have said.. her work in Promises and Noises really changed during the preview process. I do think it is kind of weird that actors are kind of being stripped of this period of exploration during previews because of the instant reviews and the hurry to judge on the internet. But I guess that is the way it is.
'I do think it is kind of weird that actors are kind of being stripped of this period of exploration during previews because of the instant reviews and the hurry to judge on the internet. But I guess that is the way it is.'
I agree with this. Which is why I think the only response is to say 'Fuck it' and do your work. It's not the actor's fault that producer's are charging full price for previews. Screw it, block everything else out and do the work you need to do to get to opening.
Interesting, Whizzer, that New Deal was the only big production number. It sounds like they could at least beef up NYC. (I always think of Annie as having a number of such moments--Think I'm Gonna Like It Here being another).
Dottie, so the last revival wasn' a recreation? I guess I always assumed it was, with the same set design and choreography/directing credits. Cutting Hoover makes me shake my head.
Robbie, that's exactly how I feel! I can't wait to see the changes they make. No one should be bitching about the talent yet. Tomorrow, most of them might be completely different. Fuck it and do your work! Exactly!!!! Same with all the designers. So many changes to come already planned!
The NYC snowglobe, the piece was supposed to be more interactive with the actors as they cross through and dance on, ect.
'I do think it is kind of weird that actors are kind of being stripped of this period of exploration during previews because of the instant reviews and the hurry to judge on the internet. But I guess that is the way it is.'
It's actually not hard to avoid this site when you're in previews. Besides, even before the internet, friends would tell you what they thought was wrong with the show.
Eric, the '97 revival might have had the same director at the helm, but it certainly didn't have the magnificent set design (David Mitchell) from the original production. Kenneth Foy designed the set for the revival. For the most part when I like something I can remember the most minute details about it. But when I dislike something, there isn't much I can recall. I don't even remember what the mansion set looked like!
"It's actually not hard to avoid this site when you're in previews. Besides, even before the internet, friends would tell you what they thought was wrong with the show."
Actually neither of those statement are correct. I don't care what anyone says.. there is always someone in the company that is very aware and in tune to this site and others. Maybe not as obvious in the talent side ( they are busy you know) . But if you don't think they are aware of what you are saying on here.. then you have not been involved in the production of a broadway show in the last 10 years. And as far as the way word spread before the internet.... nothing equals the speed and ferocity in which the internet affects everything now. It is a huge predicament to deal with now.
^ True...but, as an actor, why in God's name would I worry about someone I don't know and who hasn't been apart of the process of creating the show. I rarely even take advice from friends if they haven't been in the rehearsal room for a bit.
Oh I totally agree with you. I was referring to the show or entity of the production on my second statement. Umm .. I don't know if I worded it right.. I can't imagine what a mind **** it would be for actors to be reading this.
I've worked on many Broadway shows in the last 10 years...And quite frankly, I only look at the boards if it's going well. If the show is flopping every night, It's really painful to come here and have it confirmed. At every moment, you're dealing with the opinions of the director, the cast, the choreographer, the costume designer...It doesn't put you in the mood to come here and read more opinions.
It's easy to tell people, "Don't tell me what the boards are saying!". They'll usually respect that.
The only thing I remember about the '97 revival was the noise coming from the audience, not just the bored children during the dialogue but the unwrapping of candy and snacks purchased in the lobby and allowed in the theater for the first time. A true disgrace!
Ha, I felt like I had it wrong when typing... EIther way it, and he was wonderful (as prob everyone on here knows, he was responsible for some of the best moments of West Side Story as well--like most of America).
I'm sure someone thought "kids won't sit through all of this" which often seems to be the modern thought about overtures (well actually, the thought seems to be "no one will sit through this"). Bah. And as mentioned, the show tells you enough about the depression without a newsreel--as a 7 or so year old, I never found it confusing...
I saw the original Broadway production (original cast intact) when I was 14 years old. Annie was my first Broadway show. To say that I was excited would be an understatement. What I remember about the wonderful overture was that the audience (adults included) talked throughout it!! I kept wondering why everyone was talking. To this day I remain completely silent once the lights go down and the orchestra begins. It's all part of the show.
Bea Arthur Nude Sells For Nearly $2 Million At Auction
Gyllenhaal, Pine in Talks to Join INTO THE WOODS Movie?
BWW TV Exclusive: Prince, Lewis & More Remember Kevin Gray
STAGE TUBE: Join Them! Watch the PIPPIN Cast on Letterman!
TV: BROADWAY BARES to Return to Fire Island, June 1
VIDEO: Ben Affleck Joins SNL's 'Five Timer Club'
STAR TREK: INTO DARKNESS Beams Its Way Ahead of IRON MAN to Take Weekend Box Office
Rooney Mara is the Face for New Calvin Klein Scent
VIDEO: Kanye West Performs New Music on Saturday Night Live
Breaking News: Surprising No One, Yahoo! Has JUST Bought Tumblr for $1.1 BILLION Dollars
BWW Reviews: 'And the Winners Were...' A Report Card for the Metropolitan Opera's 2012-2013 Season
BWW Reviews: FIAF Presents THE ULYSSES SYNDROME Celebrating World Nomads Tunisia
Regional Orchestra of the Week: Delaware Symphony Orchestra
joined:10/13/03
Posted: 10/4/12 at 09:50am