that girl allison

I'm Allison. I see a ton of theatre. I'm a fan of Green Day, Ted Leo & the Pharmacists, Weezer, Oasis, Adam Rapp, Emily Giffin, and Shakespeare. I run sometimes, and do yoga always.

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Posts tagged "Nice Work If You Can Get It"
After much internal debate, I gave in yesterday and saw Nice Work If You Can Get It. I went into it with an open mind, with most people having told me that it was a good show, a cute show, and not that bad, with only one “it was awful” from a good friend. The cast was top-notch: Matthew Broderick, Kelli O’Hara, Judy Kaye, Jennifer Laura Thompson, and Estelle Parsons comprised a majority of the leads. George and Ira Gershwin are American legends, so I knew what the music was going into it. The only thing I didn’t know was the plot. 
I was so terribly bored during the first act. The plot (boy meets girl, they fall for each other, but the boy is already married, and the girl is a con artist) was thin and most of the songs chosen to flesh it out barely moved the plot forward at all. The second act was unquestionably better though, though I can’t pinpoint why. I think it was because I liked the the wrap-up of who everyone was. Also: Judy Kaye gets “drunk” and sings while swinging from a chandelier.
The choreography was very good (though I still think Newsies' and Evita's were better) and the company was fantastic. Broderick can still sing and dance with ease, but his acting was phoned in (though it's not like his character was complex or well-written enough to need any depth). O'Hara sings well and acts her slightly better written character convincingly, but she does better when she's given better material to work with. Kaye was entertaining in her role and if it weren't for her easy competition for the TONY this year, I don't think she'd be a shoe in. But considering that her competition is the star of a show that no one saw and a violinist with two lines, among others, she probably has this one in the bag. Thompson played her usual character that she plays in every show she is cast in (though she does it well), and Parsons is entertaining in her small role. My personal favorite was Chris Sullivan, as Duke Mahoney, a bootlegger. He was vocally talented, and also endearing.
Nice Work will run for a while because of the cast and also because of the baby boomer generation that loves the Gershwins. It has it’s moments, but even with an open mind, it couldn’t win me over. 

After much internal debate, I gave in yesterday and saw Nice Work If You Can Get It. I went into it with an open mind, with most people having told me that it was a good show, a cute show, and not that bad, with only one “it was awful” from a good friend. The cast was top-notch: Matthew Broderick, Kelli O’Hara, Judy Kaye, Jennifer Laura Thompson, and Estelle Parsons comprised a majority of the leads. George and Ira Gershwin are American legends, so I knew what the music was going into it. The only thing I didn’t know was the plot. 

I was so terribly bored during the first act. The plot (boy meets girl, they fall for each other, but the boy is already married, and the girl is a con artist) was thin and most of the songs chosen to flesh it out barely moved the plot forward at all. The second act was unquestionably better though, though I can’t pinpoint why. I think it was because I liked the the wrap-up of who everyone was. Also: Judy Kaye gets “drunk” and sings while swinging from a chandelier.

The choreography was very good (though I still think Newsies' and Evita's were better) and the company was fantastic. Broderick can still sing and dance with ease, but his acting was phoned in (though it's not like his character was complex or well-written enough to need any depth). O'Hara sings well and acts her slightly better written character convincingly, but she does better when she's given better material to work with. Kaye was entertaining in her role and if it weren't for her easy competition for the TONY this year, I don't think she'd be a shoe in. But considering that her competition is the star of a show that no one saw and a violinist with two lines, among others, she probably has this one in the bag. Thompson played her usual character that she plays in every show she is cast in (though she does it well), and Parsons is entertaining in her small role. My personal favorite was Chris Sullivan, as Duke Mahoney, a bootlegger. He was vocally talented, and also endearing.

Nice Work will run for a while because of the cast and also because of the baby boomer generation that loves the Gershwins. It has it’s moments, but even with an open mind, it couldn’t win me over. 

The New York Times critics released their picks for the Tonys quite early (so it seemed) which also included who they thought were snubbed. These are always fun to read.

I’ve seen almost all of the best musical/play nominees, except for Nice Work If You Can Get It which I still have yet to decide whether or not I want to pay nearly $40 to see it. Gershwin is an American legend, but he’s not anywhere near the top of my list of favorite  composers. So everyone’s anticipation can be put to rest, as I now present to you with my opinions on who was nominated, who I think should win, and who I think was tragically overlooked.

Best Musical: The nominees include Once, NewsiesLeap of Faith, and Nice Work If You Can Get It. Who do I think should win? Once. It is an artistic masterpiece. It is visually stunning, emotionally moving, and the score is one of the best out there. What will win? If Once doesn’t get it, Newsies most certainly will. It has a worthy opponent, but there’s something about Once that strikes a deeper chord with me. I think it’s more universal, plus it needs the win to do well on tour. What should’ve been nominated? Hands down: GhostGhost is visually stunning and I was never bored for one minute of the two and a half hours. Leap of Faith was, with all due respect, a visually horrendous bore. 

Best Play: This category is going to be tough. Each nominee is fantastic: Clybourne ParkVenus in FurPeter and the Starcatcher, and Other Desert Cities. My first instinct is to say that Clybourne Park will take this one, but there is a chance that Other Desert Cities or possibly Peter and the Starcatcher might slide in. Although I absolutely loved Venus in Fur, I don’t think it has touring potential and it’s a limited run, so the award wouldn’t help it in any way. What should have been nominated was The Lyons. I find this show hilarious but maybe not all of the nominating committee has had a Jewish grandmother before. Or Theresa Rebeck’s Seminar definitely deserved a nod as well. (This snubbing was, I think, her punishment for writing Smash.)

Best Book of a Musical: The nominees are Lysistrata JonesOnceNice Work If You Can Get It, and Newsies. Given that Once and Newsies aren’t original books, so to speak, I’m going say that Lysistrata Jones has a pretty good chance of snagging this one much to everyone’s surprise. Is their book the best? No, not at all. The show didn’t work very well on Broadway. Or Newsies could very well start sweeping the awards and take this as well. What should have been nominated? Bonnie and Clyde. Sue me, but I really enjoyed that show and I thought the book was engaging the entire time. 

Best Original Score: The nominees are Bonnie and ClydeOne Man, Two Guv’norsNewsies, and Peter and the Starcatcher. I would love for Bonnie and Clyde to take this one, but it never will because the voters hate Wildhorn too much.  Newsies will probably sweep it because the other two are plays and that would be kind of sad for a play to take Best Original Score. (Though the score in One Man, Two Guv’nors was quite good.) What should have been nominated? Wonderland. (No, just kidding!) I don’t think there were any other truly memorable great scores written in the past season. I don’t remember the music to Lysistrata Jones. But part of me remembers a lot of the music from Newsies being in the movie too, and in that case, Once should also have been able to be nominated for Best Original Score.    

Best Revival of a Play: The nominees include Death of a SalesmanThe Best ManWit, and Master Class. First a huge congratulations is in order to MTC for scoring two nominations in this category. Each one of these nominees was a pleasure to sit through (though you never quite believed that Cynthia Nixon was a scholar in Wit), but I’m going to say that Death of a Salesman gets this one, if the voters don’t decide to be total star-fuckers for ratings and award The Best Man instead. Although there are a fair number of stars in Salesman too, but I just thought Salesman was better than The Best Man. I don’t think there were any shows that should’ve been nominated in this category. 

Best Revival of a Musical: The nominees this year are EvitaFolliesThe Gershwin’s Porgy and Bess, and Jesus Christ Superstar.  Jesus Christ Superstar and Follies were my favorites this year, and I’m going to put my money on Follies winning. It was a favorite this year, but Porgy and Bess was also a beautiful production, though it bored me to tears, and I could see it sneaking in from behind and taking the award.

Alright, the rest of these will be short…. Click through!

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