shame you didn't read the vulture review where the reviewer describes cinderella's outfit as "a queer-coded witch from the later seasons of buffy" (SO TRUE BESTIE) and says that the plotline was "better expressed in shrek 2"
For a character like this, I would have cast a low contralto as Cinderella. Her voice should contrast everyone on stage and it’s so rare that we hear that vocally from an ingenue.
I'm glad someone addressed her act of basically defacing a grave. I was a bit confused how this was supposed to make her a sympathetic character when I saw the first preview in London. Sure it sounds like Prince Charming was vain, but it wasn't clear to me what he did to deserve the disrespect of spray paint, or why Prince Sebastian was completely fine with it!
Would have made a lot more sense if he was actually still around and either being a spoiled jerk or actively playing politics in a way that hurt people, rather than recently (presumed) dead. Like if she defaced his statue the day he arrived in town to give a speech or do an inspection or something
I also thought, with the original point that them losing the title means they lose their livelihoods, sure the people are mean to her, but that just seems cruel
@@londongirl2768 That's why it was so important but not good for Cinderella's character. She basically destroyed the town and defaced the grave of her best's brother. It would have easily been fixed if the competition was actively harming her and if if was made more clear that it pushed everyone to have impossible standards. If they had actually tried to have some sort of moral and Cinderella having an actual argument then it would have worked Hell even now "beauty sucks" is a terrible message. Have her write something like "this is what your beauty did" or "your expectations did this". Charming left because he knew he wouldn't be accepted and felt pushed into pretending to be straight and get married. They could have foreshadowed it and linked it to Cinderella's anger about the town. The fact that he has to fake his death and that Sebastian quickly broke under the pressure tell us that the town's beliefs are harmful and dangerous. Yet this is never addressed and Cinderella's actions makes the town look better/more pitiful. What little she does is worse than what we're shown of it!
I think the term misogyny totally fits. Unfortunately it doesn’t have to be deliberate. It’s basically a “I’m not like other girls” story that bashes caring about looks (historically this and vanity is associated with women and used to dismiss them) and you’ve pointed out already that none of the women are anything but catty with one another. If being “not like other girls” is a good thing (in this story it is) then that means inherently other women are bad.
Having seen the *ahem* slime tutorial, I think "I Know You" is being praised less for its strength as a song and more for being an opportunity for the Queen and Stepmother to camp it up. They are the unanimous stand outs in both US and UK after all.
Having seen both the slime tutorial and the live version, yeah, it’s absolutely this. When you’re watching two very talented women playing these wild characters and making an absolute meal out of their duet, it makes the show fun in a way it hasn’t really been up to that point. (And the audience at our performance absolutely ate it up-not surprising, since despite the vague lyrics the actors were having a ball with the song, no pun intended.)
@@cryptidcore4662 If one searches RU-vid, one will find Acts 1 and 2 of the original West End run pre-revisions as two separate videos. So far no one seems to have captured the Broadway version, which is a shame, because it has to be seen and heard to be believed.
I saw the show the week after it opened, and honestly, I felt terrible for the cast. That stage is packed with talent at all times, and they’re failed so badly by the lyrics and book. Jordan Dobson especially was incredible as Sebastian, and Linedy Genao sounds amazing live-plus she’s doing a lot of work to try to make the character likable, with *zero* help from the script. And it’s baffling to me that the show is still so horny-there were no less than three kids in the same row as me who were young enough to need booster seats! Like… I’m not fundamentally against a horny Cinderella, but if it’s for adults only, you have to make that clear from the moment someone wants to buy a ticket.
Weirdly, I saw someone saying that they were happy that there was a "family-friendly" show -- that their teenage daughter was embarrassed to go see Moulin Rouge with her grandmother, but that they had a great time at Bad Cinderella. I was very confused.
@@callalily3994 admittedly, I’ve only seen the movie version of Moulin Rouge so I don’t know how much more or less horny the stage show is, but… I can’t imagine being *less* embarrassed, since the horny stuff in Bad Cinderella comes from out of left field. (Like… did they *have* to keep the line about how she can go work at a brothel that caters to the blind? Really?)
@@bigjedimullet I’d say it’s much more than the movie - in part because it’s really right in front of you; the movie sort of hides some of the explicit nature of the Moulin Rouge.
@@khills- “Moulin Rouge! The Musical” is still tastefully done. Since, the “horniness” is meant to make the audience feel they have been transported to the actual Moulin Rouge in Paris. There were plenty of 15-18 year olds, when I saw it, the night Aaron Tveit returned. While, “The Book of Mormon” and “Beetlejuice” (both of which have crash humor) were received well by audiences. The former even won the Tony for Best Musical. So, the issue is not with the Broadway theater critics, but rather “Bad Cinderella” is just a terrible show. As it clearly lacks any sophistication, or memorable songs. Plus, it does not help that Andrew Lloyd Webber plagiarized a melody from Rogers & Hammerstein’s (classic and iconic) “Cinderella”.
I feel like something that may have made the critical reception so different between the US and UK productions is IMO the presence of panto in the UK makes bad cinderella much more palatable. I experienced pantomimes on a trip to England last year as an American theater fan and was a bit taken aback, and bad cinderella seems to have a lot of intentional or unintentional similarities to traditional panto attributes in regards to the campy and loud aspects of the show that US critics may dislike, but aren't super foreign to UK ones
Your first lot of Bad Cinderella videos were what brought me to your channel. I think the UK gave mostly positive reviews because it's ALW. No one would dare to give him a scathing review in the same way that the US will.
Ok but a musical called “Bao Cinderella” themed around a cooking competition instead of a ball could be way more interesting than the current version of the show
Critiquing someone's singing is fair game imo. If you can't understand what they're singing or they're off tune, then that should be ok to say. Look, it's a musical. This involves singing. If the actor is doing a bad performance, then it's fair to talk about.
😂 some of those reviews are better written than the show by the sounds of things- very very brutal in places though. I do kinda get the reviews being harsher though, like they've had a year and a half of feedback saying similar things, it's jsut such a flimsy premise. I agree with the reviewer who said it feels misogynistic all of the supposedly 'bad' aspects of the towns people seem to be defined by 'girly' things, cinderella is a ReBeL because she wears darker colours and trousers (which is less girly), and the fact that every woman hates every other woman is jsut dissapointing.
Saw it last week and I said to my friend afterward that "It wasn't that it was BAD it's that it just wasn't good." They needed to let go of the traditional, done a million times before, Cinderella story and go FULL camp. But I feel... like many of his other shows especially recent ones, ALW's ego took control of the direction this went in. HE wanted it to be a certain way. HE had these ballads HE wanted to be in the show and it didn't matter at the end of the day and that part of the show just was NOT working. ALW writes a mean ballad and he was gonna stuff as many in as he could until it got to the point that as an audience member, you dreaded seeing Cinderella (the main character) enter into a scene because you knew eventually that meant a ballad was not far behind.
I feel like the only "good news" we can take from this is that those who want to see it for whatever reason it will likely take a similar route as Love Never Dies & get the odd tour. Then you'll have the crowd who watched these videos & others like myself who will go almost in a way to "hate watch" the show just to say "I saw that". (to be fair through I've watched the boot & I enjoyed enough of it I'd get a good laugh seeing a tour)
I am definitely in the "meh" camp for the show. It's not the worst ALW show, and it's not even the worst musical I've seen this season (Almost Famous), it just has deep structural issues that they do not seem interested in fixing. Having grabbed rush tickets out of morbid curiosity, I didn't feel like I had wasted money, but the fact that everyone around me seems to have gone for the same reason doesn't bode well for the long run. The question is, can they get a ALW revival off the ground before this closes to keep his streak of always having a show on Broadway alive?
“Evita” is being revived in Boston, with rumors for a Broadway run. That is why there is a conspiracy theory the only reason “Bad Cinderella” was allowed onto Broadway, was to save the Imperial Theater for the “Evita” revival.
You knew it was going to be a mess with that terrible roll out. “I’m your Bad Cinderella!” Really? ‘Cause I’m getting Theatre Department Spring Showcase. Hopefully it will stay up long enough for the cast & stage manager qualify for union insurance.
haha. Love that. Just saw a fellow actor quoting a review that commented on his performance "how powerful he is able to sing in head voice is astounding" ...he left out that it was followed by "if albeit shrill"
I saw the West End production last year and LOVED it personally, however I did get the impression that the whole show was DESPERATE to be on TikTok. They've certainly got their wish now lol, wish I could see the Broadway version. Also, thank you MickeyJo for keeping me updated on all of this, since your cast album reaction video 🙂
Having seen the Broadway version, it feels somehow thirstier for Tiktok attention than the original. Maybe it’s the brighter colors and quicker tempos, or the fact that one of the stepsisters now literally calls Cinderella a “pick-me girl” (barf).
There is no way “Bad Cinderella” is going to receive any major Tony nominations. There are much better new musicals, with solid scores, playing on Broadway. Plus, I am pretty sure revivals are not separated in the acting and technical categories. Which will really put a damper on “Bad Cinderella”’s chances, even if the reviews were not scathing. Honestly, I suspect it was only allowed on Broadway to keep the Imperial Theater warm, for the upcoming “Evita” revival. Apart from “The Phantom of the Opera”, I have never been much of an Andrew Lloyd Webber fan. Some of his other musicals have some catchy songs, but that is about it. He always put spectacle over story, and relied too heavily on camp. Perhaps the main reason “Phantom” worked so well was due to Harold Prince being the director, more than anything else.
My 16 year old saw it with her drama club as her first broadway show on opening week Saturday night. She said it was certainly not a good show but they had a blast.
I really like this round-up of witty reviewer puns! I think you should do a rank list of the best reviewer phrases (for even more Cinderella content or other shows!)
I do not like Sir ALW or his shows and I never will. He treats his casts horribly, and blames everyone else for his failures. I wish he would take his very large and bruised ego, retire to a cottage in a very remote area of the English countryside and stay there. Sir ALW has enough $$$ to live on.
I was particularly curious about what the Post had to say because it reads to me like his negative review of the West End production really got under Lord Andy’s skin. I knew he wouldn’t like it but the Post’s negative reviews are always brutal.
No, Jesse Green just takes great pleasure in being as catty and cutting as he possibly can. He's not a terribly inaccurate reviewer, but he is frequently unnecessarily mean.
I remember when I woke up to see the reviews, and I couldn't believe how harsh, and personal, some of them were. I felt so bad I tweeted the show to tell the cast I was sure they were doing a great job, because I would hate to be on the receiving end of many of the reviews. Some of which were damn right cruel.
Honestly, I give it until the end of the summer before ALW announces it's closing suddenly and calls the show a "costly mistake" blaming everyone else for it not doing well.
The most enjoyable moment in my opinion regarding the Broadway production of Bad Cinderella are the reviews. I have enjoyed your video immensely! Unfortunately I can’t say the same about this show.
I'm glad to hear the acknowledgement for "Only You, Lonely You". When I first listened to it I thought it was a nice if generic pining-best-friend song (I noticed one critic calling the show's lyrics unspecific overall). I've listened to it more and more, though - both Ivano's original take and a bunch of good covers! - and quite like it. If nothing else we got that out of the messy saga of this show (I do wonder, 20-30+ years from now, how it will stack up in the grand history of Troubled Productions).
I don't think we loved that duet between the Queen and Stepmother as much as we loved those two characters together. I kept wishing they were singing a Sonheim duet instead....
This show kinda had everything going against it from the start after the ALW drama and how the UK production went down- it would have had to literally knock everyone's socks off and do a total change to have hope on Broadway, which I feel like we all knew it wasn't very capable of. Especially after hearing that a lot of the show itself didnt't change much. The whole thing sounds like something a group of students might come up with if they were asked "let's get in groups and come up with your own version of a musical!" and thus "Cinderella...but she's 'bad'!" There are just so many playwrites and producers trying to make it out there and never get a chance to go anywhere near broadway, yet ALW gets to do this just cause of his name- tbh I'm glad the critics aren't letting him get away with it. The review roundup was really interesting on this one, thanks for sharing!
Also, A Doll’s House was amazing. Spartan staging worked for this play. I didn’t miss it. Focusing on dialogue is good especially with this cast. People were leaning forward in their seats.
I seriously doubt “Bad Cinderella” will be nominated for anything, at this year’s Tonys. There are much stronger musicals, and revivals are not separated in the technical categories.
Thanks for (as always) being so honest. I love your reviews and always appreciate how honest and candid you are - I adore your Chanel and opinions - so thanks for doing what you do. Don’t loose hope in your career as a theater critique!
The three Americans who reviewed Bad Cinderella on the Musicalsplaining podcast (one musical lover who majored in theater, one with a Master's in Fine Arts who does NOT like musicals, and the former tries to educate the latter on the medium with an additional guest host) actually weren't terribly impressed with "I Know You." The two women reviewing were joking about how in a kingdom obsessed with beauty and sex, it doesn't make sense for turning tricks on the street to be a blackmailable activity. One of them commenting, "That sounds like a win to me."
Paired back staging has been a trend for some time now. Opera is full of it, for better or worse however you can never tell if it's budget issues or a creative choice.
in the uk we are used to campness and sexual jokes/horniness from panto which is the first show most people ever see so i suppose uk critics were more used to it and audiences liked it more. Its like how lmm talked about how uk audiences laugh at innuendos in dear theadosia which never got a reaction on broadway. personally i did really like cinderella when i saw it but maybe i was blinded by my love of carrie.
@@londongirl2768 No. LMM in an interview with Stephen Colbert said British audiences would snicker at Burr singing ‘I’m keeping her bed warm while her husband is away’ in Wait for It. In his words Brits are hung up on sex. Although I’ve seen it twice on WE and people did not laugh at that line.
@@ChienaAvtzon What? LMM literally said in the same interview that Americans don’t understand American history. You really think everyone in the audience has a good understanding of the War of Independence?
The show, like most new spring shows, will wait until at least Tony nominations are announced before it announces a closing notice. If it doesnt get a Best Musical nomination (spoiler alert, it won't) I see it not making it to the actual awards ceremony in June. Much better shows have had similar lives (I'm looking at you Bridges of Madison County) If it defies logic, it will work very hard and make very little money chugging along for a September closing. I do think it will see some nominations; three at the most - none guaranteed. (Supporting Actress, Score and Choreography) And yes, "I Know You" was one of the highlights of the show and score, for me, an American.
I know this was removed in the transfer, but I figured she was bad because she destroyed the local economy in losing them the contest. The best thing I could say about the show was that it was a very entertaining train wreck. You were just sat there wondering how they could possibly become more outrageous.
I feel like the London audience just really wants something very different from the Broadway audience. There are some successful crossovers, but overall it's just different.
It is interesting to see different reactions with an American audience than a British one like with the I Know You praise. I found that when I saw A Gentleman's Guide to Love and Murder a few years ago on Broadway - I found that a very mixed bag of a show (a couple of really stellar numbers, a lot of painful unfunny parts) and the rest of my group of Brits felt similarly, however the audience was absolutely loving it. Quite different situation, but I also am curious how a British audience will find A Strange Loop as I found that an extremely specific American show in terms of its references and I was surprised its doing a London run.
I believe that the show will close after the Tony's or possibly already in early May if it fails to get any nominations. Looking at the grosses I doubt that it currently covers its running cost and is more of a prestige project for the creatives until the awards.
Considering revivals are not separated from new shows, for the acting and technical categories, there is no way “Bad Cinderella” will receive any Tony nominations. There are other shows that are more deserving, and have superior production design and performances. If Carolee Carmelo gets nominated, it will be like the Oscars and Meryl Streep. Just an award on name recognition, and not due to it being the best.
@@AndersDahnielson - Andrew Lloyd Webber has too much money to burn. Rumor has it “Bad Cinderella” was only put on Broadway to hold the Imperial Theater, for the upcoming “Evita” revival from Boston. It is the only thing that makes sense. So, expect this dumpster fire to close around in July, when the revival finishes its run.
‘I know you’ is great; if you get in to the detail of the lyrics it really builds a world behind where the queen and stepmother have come from. It feels smart and almost quite rich compared to, perhaps a majority, of the other songs. Saw the London show twice, when I heard it was closing I thought there would be no way this would work in USA; the humour is not right tonally. And that’s before addressing anything else!
I do find it kind of interesting, that more "Theater kid" younger reviewers like yourself don't particularly like to criticize actors but don't mind criticizing creatives. I get it that criticizing the creatives comes off as more “punching up”, but there's still people behind all creative decisions. I find it all fair game. If someone wasn't good in a role, or doesn't sound good, I think it's all fair game. JMO.
Agreed…. the actors are picked by the creatives and producers. For example, Beanie Feldstein deserved every bit of scorn and vitriol the critics and audiences showered her with, for the “Funny Girl” revival. She had no business being cast as Fanny Bryce, and it was clearly done out of nepotism. Julie Benko should have been the opening lead, after Lea Michelle turned the role down. The revival would have been much better received at the Tonys, with a talented lead actress.
With this particular show, it genuinely does feel like the cast are putting in a lot of effort and energy to make it enjoyable-if they weren’t trying, it would be *dire* to sit through-and are being failed primarily by the material.
@@bigjedimullet That's what makes the difference for me. If an actor is doing a bad job with good material, or was wildly miscast, I'm not going to sugarcoat my opinions of their performance. But if the actors are doing the best they can within the constraints of the show they're in, I'm going to try to give them credit for that. Especially because, unless they're big, big stars, the cast don't have the ability to just walk away from a project because they have to earn a living whether they're 100% on board with the creative decisions or not.
It must be an American mindset with how much people love I Know You, because Only You, Lonely You has always been the standout for me, but perhaps seeing it live would help, and my being a hopeless romantic does color my opinion lmao
I don't necessarily think that pointing out an actor's appearance or voice is a personal attack. If their look/performance isn't a good fit for the character, that's a valid critique of casting. Not everyone is right for every role, casting the right person is very important. As a random example, there is a new movie about Madame Du Barry, who was the mistress of Louis XV. When the movie is set, Du Barry was a woman in her 20s and 30s, with a round face, curvy figure and small doll-like features. The actress playing the role is a tall, slim 47 year old with angular features. This is an example of a casting choice that takes you out of the story and it's valid to critique it. I do think that you can point out bad casting without insulting the person's appearance or calling their voice 'grating'. It's the terminology used that's insulting, not the criticism itself. However, you can critique that
@MickeyJoTheatre what are your thoughts on The Phantom of the Opera closing on Broadway this Sunday? Personally I’m devastated because it was really my “gateway” musical to musical theater and i just really love the story
@@MarcusMartn - The Majestic Theater was in serious disrepair. Which is probably why they chose to close “Phantom”. It would not surprise me if the show is revived, possibly even directed by Thomas Kail, the moment the theater is renovated.
Just wanted to comment on your three part series in New York. Thoroughly enjoyed listening to you. Your enthusiasm was contagious sometimes living in New York you forget how exciting the city is. Maybe I’m a little jaded, But sometimes you just want a little peace and quiet.
I don't know how much Once Upon A One More Time is going to have changed from when I saw it in DC in 2021 when it opens on Broadway, but if it hasn't changed much, I can't WAIT for you to see and review it.
Jesse Green of NYT can be harsh at times with his reviews. He is nothing like Ben Brantley, who had a better style of writing. Especially when he wrote negative reviews. There were MANY reviews that I disagreed with Green about. Especially for Music Man & Company. That being said, this review is probably the best one I have read by him so far and I could not agree more with him on! Bad Cinderella is by far the worst musical ALW has ever put on in his career! He needs to either find better people to work with and not be so controlling over every aspect of a show or just simply retire!
I prefer the London production more (despite that it was still flawed) with that being said, I had a feeling that the Broadway version will receive a closing notice after the Tony Awards.
I just want to know what lightning flash of inspiration struck ALW when he decided on the phrase "bad cinderella" rather than like, "wicked stepdaughter" or something. But then it'd be stepping a little closely on the toes of a much more inspired musical.
If you haven’t and you have the opportunity to- Buy a ticket for Some Like It Hot- I saw the production for my colleges theatre review class and absolutely loved it!
Honestly misogyny is a good word for it. Claiming to be progressive and feminist while having every woman hate each other and the main character does nothing of worth? Plus the fact that none of the women do anything even kind of feminist. The show feels misogynistic cause it claims to be so empowered and female centric while making the most sympathetic characters men. The male and female characters do not at all feel or are written equally, which a feminist show would absolutely do.
I actually thought the New York Times review was really more of a tip of the hat to ALW. The tone had a great amount of respect for his time on Broadway “implausible story about a real marriage of love.” Even though it also said his time in the sun is over “obsolete form” and how Phantom is closing. I feel like the American theatre wing will recognize his show for Best musical. It would be powerful if they nominate an original score over some jukebox shit like &Juliet. We’ll see.
I feel like this show may at least get nominated, but the best musical category may be stacked this year at the Tony’s with Kimberly Akimbo, Shucked, and then some. Plus the acting categories will be competing with the casts from Into the Woods, Sweeney Todd, and Parade so I am not confident that the show will take home much, but we shall see when the nominations come out
It's such a shame Andrew Lloyd Webber has lost his touch, but then again maybe he hasn't. His recent less good shows have really made me wonder how many of his works I enjoy mostly because of nostalgia
Definitely agree about the nostalgia factor. Andrew Lloyd Webber is stuck in the 80s, and should have retired after “Phantom”, as it is his magnum opus. However, I am now convinced “The Phantom of the Opera” did so well, is due to Harold Prince being the director. He directed every single classic and ironic musical for Broadway. It is clear to drew inspiration from “Sweeney Todd” when directing “Phantom”. Which explains why it is one of the few Andrew Lloyd Webber musicals with any depth, and an operatic sophistication. The majority of his musicals a campy fluff pieces and melodramas, with the occasional rock opera.
I have to agree that nostalgia plays a big part in this. For me he only have two or three really good, well worked out shows. The rest has maybe one or two good songs but that is it. BUT- as a musicalnerd and worked with/on/behind stageproductions for 20 years I have actually been smacked over the head for NOT ranking ANY of ALW's musicals as my top favourite. This says it all, for a long time you HAD to rank ALW as the top otherwise you weren't a true musical nerd. The only musicals by ALW that I have found really good are the ones that has been produced by Cameron. Which might explain a lot? There's a lot to say in this matter but this might not be the time or place for that.. The musical I do rank as "my top nr 1 of all time can never be touched or moved from that position"- Is a swedish musical called Kristina fran Duvemala. Written by Bjorn and Benny from ABBA, adapted from a book series by a highly regarded Swedish author about a family migrating from Sweden to America during a time when a third (!) of the Swedish population migrated . This musical is inherently swedish and hasn''t been produced as an English speaking one because of the difficulties to translate it properly. There has been an orchester version many years ago in US and one in England a few years ago. Its over 4 hours long.... but the music is so incredible that you ought to check it out. Link for full original cast album: open.spotify.com/album/77xlXwEEbovGtF25MTIVgk?si=QiGQCVkxSQesF9XeaTeSdw It will be in swedish but here is a link to a wiki page that further down on the page has an explanation for every song and short description of the plot: en.wikipedia.org/wiki/Kristina_fr%C3%A5n_Duvem%C3%A5la @mickeyjotheatre this is something for you!
I struggle to understand what would possess an actor to audition and then sign on to this kind of show. One that has already received a lot of negative criticism previously, I mean. I just don’t get it. Any idea?
For better for worse, it's Broadway and ALW, and that's a huge deal. Acting is an overcrowded profession and a gig is a gig. Also, they may have been assured of changes from the London run, which did happen.
@@maurinet2291 Plus, as a lifelong appreciator of bad musicals/movies/TV, I’ve noticed that the folks who are giving their all in an otherwise awful production do tend to attract attention and stick in your memory. Especially now that social media can connect you with a huge audience! You might as well give it all you’ve got.
Tried to listen to I Know You…. I couldn’t finish it, I was very confused and somehow bored at the same time. I completely agree I don’t get the hype from reviews.
I hate when people throw Starlight Express under the bus for Bad Cinderella, Stex is so good if people would actually give it a chance, and has so much more entertainment value over Bad Cinderella T_T
Honestly, I had to ask what the point of this show was. And I know you is the only song that stood out to me. It’s the only song that I could remember the name of coming out of the show.
IMHO ALW did his best work with Tim Rice - JCS and Evita are his best musicals (historical inaccuracies aside). He needs someone else to do the story and the lyrics so he can stick to music.
As much as I hate this show (I haven't seen it but I've been obsessed with it ever since the first song dropped years ago, and it's honestly my MOST HATED MUSICAL), I feel like these reviews are straying too far in one direction to over-correct for the London reviews
I honestly really agree with Deadline. The show isn't great but it goes well with a glass of wine. I honestly really loved Linedy in the role and really did root for her most of the show (minus a moment here and there). I do have to give a shoutout to the incredible Sami Gayle and Morgan Higgins who play the step-sisters, each giving a larger than life, campy performance I enjoyed a bit more than Carolee and Grace (please don't kill me for that). I did feel like my main issue with the show was how at times it stretches too much and felt like cutting even 10 minutes of music (particularly from "I Know You" and "Far Too Late") would benefit the flow of the performance. I'd give the show a good 3.5/5 stars
Thank you for sharing your thoughts! Lots I agree with and lovely to see a shoutout for some other members of the cast, all of whom are evidently working *very* hard!
Whether the show lives or dies on Broadway your name will forever be connected to the musical for the attention you have paid it, there are so many new and exciting musicals/plays out there worthy of more attention.
