Yes, that's correct, porschesrule. I just edited my post above to address that.porschesrule wrote:I believe the sign was introduced for the Broadway version of the show in 2008 and was only used in that production of BETM -- no other.muck912 wrote:the huge Billy sign during the finale are all "wow-factor" things that Daldry and his creative team decided were right for the 2005 debut.
Indianapolis Reviews
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Re: Indianapolis Reviews
Ellen
"I don't want people who want to dance; I want people who have to dance.”
-George Balanchine 1904 -1983
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"I don't want people who want to dance; I want people who have to dance.”
-George Balanchine 1904 -1983
To follow the forum's Twitter at http://twitter.com/BEForum, click on the direct link in Applies to All Forums above.
Re: Indianapolis Reviews
Hi, Muck192,
Trust me, all Daldry's creative nuances in London and NYC, were out of this world, and every bit "good enough" for me, as well.
The fact is, the aerials are still there in the Tour's production depending, of course, on the Billy who cares to execute them. A terrific creative addition. The salty language is still intact throughout the production [albeit, I can't imagine how one could pickup any F-bombs during the Angry Dance, given the explosive action and back drop noise]. I've always expressed deep regret that the Tour did not incorporate the lighted Billy sign as a back up to Billy's curtain call. In fact, I've always lobbied for Billy to hang tough during his individual curtain call allowing the audience's appreciation to last until their gratitude for his performance was exhausted. It never appears he gets his due.
But, lordy-be; this is a traveling company with 6-day stays at most venues, 8 performances; 4-5 huge 18 wheelers to load and unloaded during that short period of time. I would suspect under the circumstances, one could hardly expect the bed room standard and dining room table to make their appearances through the stage floor thus providing a spinning action for Billy's bed.
Hence, I have become trusting of my "rose colored" glasses while viewing the Tour Company as they have to adjust to different venues each week. I'm delighted they offer us as much as they do, with out NYC-London comparisons, and have joyously accepted it, as I must. Excluding those of us who have seen the show a thousand times, I suspect 99+ percent of the audiences on tour have never seen the original company's staging, anyway. From all indications, their enthusiastic appreciation are every bit equal to what I experienced in NYC or London. Bless their hearts!
Colin
Trust me, all Daldry's creative nuances in London and NYC, were out of this world, and every bit "good enough" for me, as well.
The fact is, the aerials are still there in the Tour's production depending, of course, on the Billy who cares to execute them. A terrific creative addition. The salty language is still intact throughout the production [albeit, I can't imagine how one could pickup any F-bombs during the Angry Dance, given the explosive action and back drop noise]. I've always expressed deep regret that the Tour did not incorporate the lighted Billy sign as a back up to Billy's curtain call. In fact, I've always lobbied for Billy to hang tough during his individual curtain call allowing the audience's appreciation to last until their gratitude for his performance was exhausted. It never appears he gets his due.
But, lordy-be; this is a traveling company with 6-day stays at most venues, 8 performances; 4-5 huge 18 wheelers to load and unloaded during that short period of time. I would suspect under the circumstances, one could hardly expect the bed room standard and dining room table to make their appearances through the stage floor thus providing a spinning action for Billy's bed.
Hence, I have become trusting of my "rose colored" glasses while viewing the Tour Company as they have to adjust to different venues each week. I'm delighted they offer us as much as they do, with out NYC-London comparisons, and have joyously accepted it, as I must. Excluding those of us who have seen the show a thousand times, I suspect 99+ percent of the audiences on tour have never seen the original company's staging, anyway. From all indications, their enthusiastic appreciation are every bit equal to what I experienced in NYC or London. Bless their hearts!
Colin
Re: Indianapolis Reviews
Without getting too much into a "London vs. US Tour" debate, I suspect it probably comes down to each person's individual tastes. For me personally, the Broadway version of the show was the gold standard - combining the pizzazz of the London production and the staging benefits of being in a "permanent" location with the American-ized influences of less swearing and a more easily-understood (for American ears) Geordie accent. And I also enjoyed the lighted "Billy" sign during the Finale, along with the fun and friendly stage door atmosphere after the shows.
However, I think Colin makes a good point that the original production is amazingly intact on the tour, despite what must be a good deal of effort and expense to get the show up and running every 6 days or so. While they can't duplicate everything that a standing production is able to offer, the creativity and re-staging that has been necessary due to taking the show on the road could be seen as an improvement, depending on the individual.
However, I think Colin makes a good point that the original production is amazingly intact on the tour, despite what must be a good deal of effort and expense to get the show up and running every 6 days or so. While they can't duplicate everything that a standing production is able to offer, the creativity and re-staging that has been necessary due to taking the show on the road could be seen as an improvement, depending on the individual.
Re: Indianapolis Reviews
I have found something unique in every performance I have seen of BETM - in Broadway, London, the previous US tour, and the present US tour. I find the little differences part of the charm, like watching a grandchild grow and change a little here and there every time you see him or her. If every performance in every venue remained exactly the same, I would probably be less inclined to go as often as I do. There is no doubt that the VPT is the gold standard; but I have to admit that the present tour leaves me with the (happy) feeling that this is a family effort, a real close-knit team affair, whereas London is, by its very nature, more a case of 'who is on tonight?'. Let me make a better analogy to explain that point: the Tour is more like a game of Rugby, and the VPT is more like a game of American football; the former has one team playing continuously and as a real team, with the ball flowing effortless through a series of unplanned yet understood plays; while the latter has more substitutions, giving the impression of a very slick affair but slightly less close. Neither one is better or worse; it s just that one seems more like an acting company while the other seems like a company of actors - if that makes sense. Viva le difference!!
That said, I have never been disappointed. Never.
That said, I have never been disappointed. Never.
Re: Indianapolis Reviews
Well, I think there's some doubt (see my previous post).kport wrote: There is no doubt that the VPT is the gold standard.
But I think you make a good point about the differences in the productions being part of what makes it fun to see it in the different venues. That - and the fact that each Billy brings his own personality and style to the role - make each performance unique, and is a big reason why I - like you - enjoy seeing the show over and over again. I'll always have a soft spot for the VPT however since that's where it all started . . . and where I saw my first BETM performance in June, 2005.