KISS ME, KATE! (2019) Reviews- Page 3

[OlBlueEyes]

Posted: 3/20/19 at 2:22am

I've gotten myself into this so deep that I'm not sure if I can get out and remain consistent.

My input is that I saw the first and last previews of the Roundabout production. After I saw the first preview I also watched the Great Performances 2002 broadcast of the 1999 revival, transferred to the West End and, after Marin Mazzie left, featuring Rachel York and Brent Barrett in the principal roles. I guess I should admit right off that I preferred York and Barrett to O'Hara and Chase. The West End stars had been in the role for a considerable time and they had every nuance down. Every reaction to every blow. Kate, seething from discovery of the note that named the intended recipient to be Bianca, rips off "I Hate Men" with great conviction, then stalks Petruchio around the chamber as he plays out his wooing scene, in which he expected to succeed. Besides administering slaps and kicks, Ward gives Bartlett a sock in the solar plexus and an elbow to the groin.

This appears to set up the infamous spanking, which can be seen to balance out the abuse taken by Petruchio and pave the way for the final reunion. I think that the spanking should have been shorter.

Meanwhile, what are Kelli and Will up to stateside? Kelli does not appear to be taking this nearly as hard as Rachel. Relatively subdued "I Hate Men." No punch to the stomach or elbow to the groin. But aggressive, attacking kicks and hearty slaps. My argument with PhillyGuy is that Kelli could have played the role as over the top and more as Ward and Mazzie, but did not agree with that interpretation of her role. My source is the Newsday interview. 

"Kiss Me, Kate” is the next musical to get a cultural update. What’s that process been like?

We don’t want to fix what’s not broken. Like my song “I Hate Men” — we’re not changing anything about that except I’m not flailing about, like a crazy woman, so you discount me. I’m just singing the words. 

She had seen and admired Marin in the role in 1999. Marin took the number way over the top, but Brantley said over the top, but not out of control. On principle Kelli does not sock Will in the stomach or in that other place, despite the fact that it gives Petruchio good laugh opportunities in his reaction. The spanking is removed from Petruchio's sufferings in compensation. And the production is the worse off. Perhaps. A lot of people here just seem to like it the way it is. 

But, to return, my object was to defend Kelli O'Hara from accusations that she can't do bawdy. She showed bawdy in The Merry Widow. Drunk, wandering onto the stage with the Grisettes, getting on their kick line, patting their rumps when they bend over. (also on YouTube)  Let me also point out that Kelli does the split legs gag just as her father returns to the room to see how things are going. (Not done in first preview) This is not only the bawdiest gag, but at least one I heard stated that being put in that position every night could be dangerous to her neck and spine. So she will go out on a limb for the good of the musical.

Is not Kelli allowed to re-interpret her role the same way that Laura Benanti took such great liberties with Eliza. I've watched the Wendy Hiller film of Pygmalion, screenplay by Shaw, not long ago, and Shaw's Eliza is not Benanti's Eliza. Hiller is down on the street in the rain bawling and mourning her ruined flowers and afraid of the "police officer" taking down what she was saying. Not full of self confidence.

The only remaining problem is that the two of us seem to think that the production would be better with more physical, slapstick humor.

There is no theatricality, flamboyance or over the topness about her.

But others disagree and the reviews were better than expected. But why is the show already on discount?

 

 

[Miles2Go2]

Posted: 3/20/19 at 2:53am

The perception of quality is a subjective. The fact that the show is discounted is separate from whether it is of quality. The reality is most revivals are discounted for the majority of their runs because unfortunately they don’t appeal to the masses as much as “new” “original” shows even if those shows are based on known franchises. In fact, that’s precisely why many gravitate toward the “new” shows. If we were equating quality with sold out houses and no discounts then the current Fiddler on the Roof in Yiddish would be sold out at every performance and would never appear at TKTS because that is inarguably one quality revival.

[OlBlueEyes]

Posted: 3/20/19 at 11:42am

The reality is most revivals are discounted for the majority of their runs because unfortunately they don’t appeal to the masses as much as “new” “original” shows even if those shows are based on known franchises. In fact, that’s precisely why many gravitate toward the “new” shows. 

Mostly agree. You hit home runs with new shows like Book of Mormon, Hamilton, Wicked. But you also get a good share of outright flops even with quality new shows like Bridges of Madison County and Bandstand.

Would you say that famous musical revivals with strong casts mostly last between one and two years? 

Thinking of Beaumont Sher trilogy, Fiddler on the Roof, Carousel (may have fallen short of a year), She Loves Me, Anything Goes and I suppose any revival of Gypsy, with a Tony-hungry star cast as Rose.

The side orchestra seats at Studio 54 are a bad value at $149. Roundabout uses a lot of premium seats marketing, increasing the numbers of them along with demand for the show. Right now they are selling the premiums, including a top premium price of $352.

[poisonivy2]

Posted: 3/28/19 at 11:11pm

Well in a totally predictable development Kiss Me Kate will be the new momsical. Seeing it on April 20th with her and I think she'll like it. 

[VintageSnarker]

Posted: 4/10/19 at 2:10am

Saw it tonight. Kelli is the shining star of this production. The quality of her acting and singing is so beyond anyone else in the company. I tried my best to like Will Chase but he gave her so little to work with as a scene partner and the only song where he managed to not sound like a tenor pretending to be a baritone was "Were Thine That Special Face." Corbin and Stephanie are serviceable and working hard but I didn't think they brought anything that special because the book and the direction doesn't demand it of them. At best, they manage the choreography well, particularly Corbin. For me, the Brent Barrett/Rachel York version is still the best one (I have no knowledge of the Brian Stokes Mitchell/Marin Mazzie production beyond the cast album) but this one is worth seeing at a discounted price for Kelli. It felt like an Encores production. There were highlights but it felt like they hadn't had enough time to develop it and something was off with the sound design or the mics. 

To respond to some posts in the thread... I don't think this was tailored to millennials. There are some minor changes I noticed (no spanking, altered wedding scene at the end, etc.) but mainly a lack of direction and an overplaying of dick jokes and any broad humor as though the audience wasn't intelligent enough for the Cole Porter witticisms. I did keep thinking throughout the night that it shouldn't be this hard to make Kiss Me, Kate work. The material is so strong, it should have been able to land better. 

@henrikegerman You make a good point. I didn't really distinguish between Lilli and Kate. I like her interpretation of Kate but I agree that her Lilli lacked bite. There didn't seem to be much to get in the way of her reconciliation with Fred. Even before "So in Love" their relationship didn't seem that contentious. But I chalked that up to not getting much from Will Chase. It was difficult to not compare their lack of chemistry unfavorably to the recent On the Twentieth Century.

[binau]

Posted: 4/10/19 at 4:22am

Correct me if I’m wrong, but I thought the production you refer to IS the Mazzie production. Just without Mazzie/a different cast.

[JankiH2]

Posted: 4/10/19 at 7:45am

Brent Barrett and Marin Mazzie opened the London run of the Stokes Mitchell / Mazzie Production.  When Marin Mazzie left Carolee Carmello took over followed by Rachel York before it was filmed!  Rachel was amazing, but having seen Marin nobody could compare, she was pure perfection

[dollyfan]

Posted: 4/10/19 at 10:55am

For people who have seen the show, who usually stagedoors?

[Miles2Go2]

Posted: 4/10/19 at 11:10am

dollyfan said: "For people who have seen the show, who usually stagedoors?"

When I was at the first preview, everyone came out to stage door. 

[Mister Matt]

Posted: 4/10/19 at 11:20am

To me, it sounds like the production could have used more attention to detail by the director.  I can't help but wonder if the chemistry of the leads would have fared better if O'Hara had been reunited with Paulo Szot.

[wolfwriter]

Posted: 4/10/19 at 12:58pm

Mister Matt said: "To me, it sounds like the production could have used more attention to detail by the director. I can't help but wonder if the chemistry of the leads would have fared better if O'Hara had been reunited with Paulo Szot."

I caught this last week and was so 'meh' about it that I didn't even remember to comment.

There is no chemistry between the leads. Corbin Bleu is very talented but this whole production lacked the spark that would make it special. The anachronisms and idiotic politic updating pulls you right out of the dullness on stage. D*ck jokes in Kiss Me, Kate. Really?

Paulo Szot definitely had chemistry with Kelli O'Hara and he would sing it beutifully, but I'm not sure he would be right for this. Then again, as lovely as she sings, Ms. O'Hara wasn't really right for this, either.

I love the score and wanted so badly to love this and it just kinda sat there and then it was over.

Folks next to us and several in front of us, left at intermission. I didn't think it was bad. It just seems like another case of so much talent and so much unrealized potential.

[VintageSnarker]

Posted: 4/10/19 at 3:21pm

I'm reminded of an odd choice that Harrison Howell makes and curious if anyone remembers their audience reacting in a similar way. Howell pauses after a patronizing line about respecting or taking care of women. But either the audience wasn't paying attention or without the context of the rest of the it, a portion of the audience cheered because I think they took it as "women are awesome" and not, this paternalistic Republican is saying that women have their place as wives and mothers and need to be coddled. I feel like in addition to the choreography making an overt dick jokes out of "Tom, Dick, or Harry" there were these kinds of choices that weren't really in the spirit of the material. Kiss Me, Kate is great material. Some of the choices in this production felt like they didn't trust that it was and so they tried to work in humor and flashy choreography and fun moments almost distinct from the show. Even though I thought it was funny, things like Kelli playing "keep away" with certain objects also seemed like that. Instead of being directed on how to land the laugh lines, the direction seemed all about building in fun moments outside of the book.

[quizking101]

Posted: 4/11/19 at 10:40pm

I finally saw this tonight. Let me be clear that neither musical revival really steps up to the plate to earn a Tony for me this year, but I would pick this over Oklahoma.

I agree that O’Hara is quite miscast overall. She hits her stride toward the second act, but the first act, especially the usually ball-busting “I Hate Men”, was a total miss. She seemed more despondent and lamenting than rageful and, well, shrew-ish. This role could’ve been much better filled by a Laura Benanti or a Stephanie J. Block, someone with true comedic chops and a belt.

Chase acquitted himself nicely, but I often felt that, especially in his “on-stage” costumes, he was very much channeling his character from Something Rotten and maybe that helped me enjoy his comedic moments a bit more.

Honestly, the stars for me were Corbin Bleu, who shocked me with his tap-dancing prowess and athleticism (especially in Tom, Dick, or Harry and Too Darn Hot) and Stephanie Styles, who plays cheeky and cute and sings very well. Otherwise, this was a breezy, ho-hum 2.5 hour show that gave me exactly what I expected

Stage Door: Will Chase was out in under 10 minutes, with some ensemble, Styles, O’Hara, and Bleu all our with 30 minutes of curtain. No selfies with O’Hara or Bleu but all were lovely people.

[jbp1232]

Posted: 4/12/19 at 1:04pm

What are the chances that this will extend again, maybe to labor day? I won't be back in New York until August.

Updated On: 4/12/19 at 01:04 PM

[Theatrefan2]

Posted: 4/12/19 at 1:12pm

I doubt it.  I did not enjoy it so maybe that is what I think but its constantly on discount.  And I went because I wanted to see it very much.  But I was totally let down.  It was miscast.  And when you feel Brush Up Your Shakespear goes on too long that about says it.

[Skip23]

Posted: 4/12/19 at 1:30pm

JankiH2 said: "Brent Barrett and Marin Mazzie opened the London run of the Stokes Mitchell / Mazzie Production. When Marin Mazzieleft Carolee Carmello took over followed by Rachel York before it was filmed! Rachel was amazing, but having seen Marin nobody could compare, she was pure perfection"

 

I liked all 3 but, Carolee is Carolee!

[Miles2Go2]

Posted: 4/12/19 at 1:37pm

jbp1232 said: "What are the changes that this will extend again, maybe to labor day? I won't be back in New York until August."

i know I’m in the minority here, but I found this production to be complete bliss  Having said that, it has already extended once and while Roundabout is a non-profit, the show isn’t selling great (average ticket price is $85) so I think it’s doubtful it’ll extend again especially after Oklahoma! wins best revival at the Tony Awards, which seems preordained.  

 

[Skip23]

Posted: 4/12/19 at 2:13pm

Miles2Go2 said: "jbp1232 said: "What are the changes that this will extend again, maybe to labor day? I won't be back in New York until August."

i know I’m in the minority here, but I found this production to be complete bliss Having said that, it has already extended once and while Roundabout is a non-profit, the show isn’t selling great (average ticket price is $85) so I think it’s doubtful it’ll extend again especially after Oklahoma! wins best revival at the Tony Awards, which seems preordained.

"

 

I don't think Oklahoma!'s win is preordained.  There's a strong backlash against this particular take on the show.  

 

Of course, Tony voters could vote to protect the show too.  Kate has to close June 30.  But Oklahoma! is open-ended.  Protect anything that's still open.

 

Updated On: 4/12/19 at 02:13 PM

[dramamama611]

Posted: 4/12/19 at 2:33pm

Pretty sure Oklahoma is not open ended.  Running through the summer only, I believe.  (Could be wrong.)

[Skip23]

Posted: 4/12/19 at 3:04pm

dramamama611 said: "Pretty sure Oklahoma is not open ended. Running through the summer only, I believe. (Could be wrong.)"

 

You're right.  But maybe they could extend?  

[binau]

Posted: 4/21/19 at 9:24am

 

Click Here To Toggle Spoiler Content

 

I feel so guilty because I think I might prefer Kelli’s “So In Love” over Marin’s. It was such a beautiful moment it reminded me of when Bernadette Peters performed “Send in the clowns” - which still probably remains my absolutely favourite moment of any musical I’ve ever seen ever. So vulnerable and an amazing vocal timbre, I can’t wait for the recording.

I went in wanting to absolutely love the show - but unfortunately I must say I was a little disappointed. Of course it all works and it’s ‘good’ but something just was a little off for me. Why did the audience not seem to respond to “Tom, dick or Harry”? (Though I loved the coreography). When I have seen this before I found “always true to you” to be funny and a show stopper but here it barely registered. Likewise with brush up your Shakespeare - I just wanted it to end.

Besides the above and “too darn hot” I can’t say I love the score either. Will Chase has a killer voice but nothing worth singing. 

In hindsight, I could have probably skipped this and seen something new.

Updated On: 4/21/19 at 09:24 AM

[hveasey]

Posted: 4/28/19 at 10:58pm

Saw this today and am shocked to read all the negative reviews here, as I completely loved it. I’ve never seen a production of the show before so maybe that’s part of it but I was familiar with the songs.

I thought O’hara did a wonderful job in the role. Her performance of So in Love was stellar and I felt she nailed the physical comedy aspects of the role as well. I Hate Men could’ve maybe used a little more oomph but was far from lacking. I also thought she had great chemistry with Will Chase so maybe that’s improved as the run has gone on. I loved Stephanie J. Block in The Cher Show and she’s certainly deserving of the Tony as well, but I’d be just as happy for O’Hara to win for this.

Corbin Bleu and the dance numbers were also all stand-outs. Too Darn Hot obviously, but Tom Dick or Harry and Bianca were great as well. I haven’t seen Ain’t Too Proud but I’d be surprised to see this lose for Best Choreography. Only the Dark Lady number in The Cher Show would seem to provide real competition. (I was also happy to see Bleu come out for a short post-show talkback, which the other stars did not do)

[OlBlueEyes]

Posted: 4/29/19 at 1:30am

I agree that O’Hara is quite miscast overall. She hits her stride toward the second act, but the first act, especially the usually ball-busting “I Hate Men”, was a total miss. She seemed more despondent and lamenting than rageful and, well, shrew-ish. 

Kelli addressed this exact point during the long SAG AFTRA conversation with the cast a few weeks ago. During previews she received quite a few "notes," as she called them, advising her to make Lilli more of a diva. She discussed the notes with the director and, since Scott believed that previews were for trying out changes, told her to play Lilli that way.

So she gave Lilli more aggressive body language, and had her order about her dresser, and take a more hostile tone with Fred. She didn't like Lilli that way. She explained why Lilli in her mind would not be behaving in that way. She had just had her film contract canceled, and she was forced to work back in this small theater troupe under the direction of the man she still loved. Lilli had been deflated by circumstances.

Apparently other actresses who played the role in the prior revivals thought differently.

A condensed version of the SAG AFTRA Conversation is here on BWW and in the last third includes Kelli's explanation for not playing the role more broadly.