Matt has a rule that he doesn’t see a show in previews until at least the third week. I, as of late, have been trying to adopt this habit. This is not to say previews aren’t worth seeing or that they’re “bad” performances by any means, but more often than not, the show is simply not ready. It likely still needs more time to polish technical cues, and as they say in the theatre business, the show isn’t “frozen” yet.
For those of you who don’t know how previews work, basically, during those three or four weeks before opening night, the show is still malleable. Cuts are made, lines added, blocking shifted, light cues changed. Many of these shifts are based on how things are going in front of the audiences – the creative team and performers get an idea of which moments aren’t working, what isn’t reading, what can be taken further, etc. So everyone is also rehearsing during the day before the performances each night and constantly adapting to all of these changes. It’s an exhausting and frenzied time. There is so much else going on during a preview period aside from the story being told.
Back in April, Matt and I broke his rule when we got comp tickets to Violet, because come on, we weren’t going to pass up free seats! We saw the seventh preview I believe, and while I liked it (and gave it a fairly good review), it still lacked…something. It felt unfinished, the actors weren’t as connected as they could be, they hadn’t quite found their rhythm – all symptoms of early previews of a musical and of course, things I would never hold against a production.
Something I don’t often get to do is then go back and see a show later on in its run. To be able to return and see the developments and changes is always a rush. In this case, I couldn’t have asked for better circumstances. Four months of eight shows a week (and four Tony nominations) later, I took Brigitte to see the closing performance of Violet last Sunday for her birthday, and I am so happy to have witnessed it. So happy that I’m writing a second mini-review!
I loved this production. Truly. Back in April, I said in my review that I didn’t think the stripped down, minimalist approach fully served the show. Now I couldn’t disagree with myself more. It was incredibly effective and put the emphasis on the characters and the heart of the story. The connections between people were real and specific. I noticed so much more detail this time around – like the way Flick was treated in the opening scenes even when he was not the focus. There were sharp, striking flashes of choreography in “On My Way” and “Luck of the Draw,” moments which may have been there back in previews, but they didn’t read the way they did last week. Props to director Leigh Silverman and everyone else for such tight, precise storytelling.
I also had said there was no depth to the character of Monty and that I didn’t buy the love triangle. Again, now this couldn’t be further from the truth. Colin Donnell brought so much to the role, and you could actually see Monty changing, or at least wanting to change and be better. And I definitely believed this odd triangle of people and the twists and turns of their relationships, thanks to the nuance that developed over the course of the run.
The show was extra emotional since it was the last performance, and everyone was giving it their all. There were extra riffs, milked moments of laughter, and super long applause breaks between numbers. It was quite the ride, and I’m so thrilled I was able to go back on the Violet bus for a second time.
Music by Jeanine Tesori, Book and Lyrics by Brian Crawley, Directed by Leigh Silverman
American Airlines Theatre, Closed August 10th
Photo Credit: Joan Marcus
Pictured: Sutton Foster and Alexander Gemignani