Sure enough, by the time the first act finished, I was much more impressed with the adaptation of Joseph Moncure March's engagingly dark Jazz-Age poem than I'd been the first time around -- a seeming improvement I attributed to several elements.
After the telecast (discussed in my post here), Broadway is all about the after-parties. There is the official Tony Gala at the Plaza. Then each show or each lead producer usually hosts their own party.
It's not often that we get second chances in life, but when we do, this is the moment we need to make the most of. Many times we don't see it coming, but life decides to throw us curveballs when we least expect them.
This past season has been lackadaisical for new Broadway musicals, with the best of them--arguably After Midnight, Beautiful and A Gentleman's Guide to Love & Murder, in alphabetical order--falling in the slightly-less-than-exhilarating class.
So extraordinarily good was the one-night Encores! Off-Center staged concert reading of the Jeanine Tesori-Brian Crawley Violet, directed by Leigh Silverman, that it calls for some serious transfer-it-somewhere-else-fast thinking.
You may be asking yourself, so how relevant can a 1930s show taking place aboard a cruise ship, starring a gangster and a plucky cabaret singer and featuring a couple of crisscrossed lovers really be in 2012 NYC? The short answer is very.