My SPOILERY Be More Chill review
In honor of tonight’s opening, I wanted to put together my impressions of the show, brought to you by five off-Broadway and four Broadway preview viewings. I will divide things up by scene/song to better order my thoughts. Please DO NOT read if you haven’t seen or don’t know the story well already.
(In that case, here’s a mini-review for you: GOOOOO SEE THIS! Okay now do yourself a favor and close this window.)
More Than Survive:
I like the change to Mr. Heere just eating cereal in his underwear, and unable to drive Jeremy to school. This better conveys Jeremy's real frustration with his dad being mentally checked out than the (admittedly funnier) off-Broadway scene, which just made Jeremy seem grossed out by him.
I miss the Chloe-Jake breakup scene a bit, but it didn't really add much to the narrative other than seeing them as a couple for a brief moment. The next mini-scene where Jenna addresses the breakup with Chloe accomplishes what's needed, plus adds to Jenna's narrative as the girl everyone goes to for the dirt and nothing else.
I Love Play Rehearsal:
I would shower Stephanie Hsu with multiple Tonys for this scene alone. Her Christine is equal parts adorable and batshit, and we can easily see why Jeremy finds her so much more fascinating than the conventionally attractive popular girls at school.
Minor gripe: BRING BACK JAKE'S DAB. That shit was hilarious, and in a simple move showed how Jake, while trying to live up to the cool jock everyone knows him to be, has the same amount of dork inside that everyone does.
The Squip Song:
Ugh I get they're trying to clean this up for a staid Broadway audience, but Rich drawing the penis on the wall and brazenly peeing in front of Jeremy are both missed. Not just for the humor, but because without it Rich just seems like his Squip made him merely mean, instead of confident. That confidence would presumably be what Rich was seeking with a Squip, not to become a garden variety bully, so it loses something in the translation when Rich isn't displaying that through his inappropriate jokes.
I do appreciate Rich's bullying of Jeremy being stepped up, because it's important we get a fuller idea of Jeremy's suffering. Off-Broadway, it just came across as "I can't get the girl I dig and a boy at school sometimes says shitty things." Though certainly emotional bullying is awful, its pervasiveness over a long period of time is hard to convey in a few short scenes. Having Rich also physically intimidate Jeremy makes you feel Jeremy's fear in a palpable way, which leads you to sympathize more with him.
Also can we give Gerard Canonico a Tony merely for the "It's from Japan!" scream? I think, yes. Seriously, his performance in this role is so iconic, it's hard to imagine another actor playing Rich.
Two-Player Game:
The perfect scene for conveying the true dynamic of Jeremy and Michael's friendship. That dynamic being, Michael is a much better friend to Jeremy than Jeremy is to Michael. This is one of the challenges for Will Roland in portraying Jeremy: he is not an easily likeable character. Yes, Jeremy is bullied at school, but he also makes everything about him, his needs, his pain, etc. There isn't a moment in which Jeremy checks to see how Michael's doing (lest we forget Michael is also bullied - the backpack prank was pulled on him, too.) So this song works as both a fun bop, and as a display of the unequal nature of this friendship.
Also, on the whole I *love* Chase Brock's choreography. Especially in "Halloween" and the utterly phenomenal "The Pitiful Children." The one exception is when Jeremy and Michael get up from the bed to finish this song; these moves are clunky and not sharp. It's hard to tell if executed more crisply, they would work better for me, or if the actors are intentionally sort of keeping it loose to demonstrate that these dudes are not as cool as their peers.
Be More Chill:
Jeremy's Squip being activated and the ultimate dramatic appearance of that Squip is one of my favorite moments in the show. My God, the evolution of the Squip from last summer has me floored. It was always good, but what Jason Tam is doing with this character now is must-see. This Squip is like an emotionally abusive partner. He coldy points out what he sees as your flaws, then smooth talks you about your amazing potential, and you forget that you were ever hurt or mad to begin with. Rinse, repeat. He also reminds me of the current administration, in that he'll say something totally out of bounds, then quickly walk it back to where he really wanted you, and you're temporarily swayed by the dial-down that he's not so bad after all. Fucking masterful.
If this man isn't nominated, seriously fuck the Tonys.
Do You Wanna Ride?
What I love most about this besides its hilarity is that it shows a bit of quid pro quo in the seemingly one-sided Chloe/Brooke friendship. While Chloe pretty openly treats Brooke poorly on multiple occasions, when Brooke wants an assist in trying to get Jeremy to say yes, Chloe immediately jumps to her cue and joins in. This is actually more than Jeremy ever helps Michael with anything in the entirety of the show, which is pretty fucking sad when you think about it.
Katlyn Carlson and Lauren Marcus have perfect chemistry as the best frenemies we'd love to hate if only we didn't kind of totally love them so damn much.
Be More Chill Part 2:
I liked the staging for this better at Signature. It serviced the choreography much better when they didn't throw a mall fountain mid-stage that forces them to redirect the dance moves in a less visually striking manner. I especially miss the hoveround rolling down center stage with the mall shoppers trailing behind it. We've already been to Payless and the food court; we know it's a mall. The fountain is unnecessary. Also, can we give Troy a better alter-ego when he goes on? The Starbucks get-up just looks like Michael went to work at his mall job and for some unknown reason put a wig on.
Sync Up:
I love the expansion of the supporting roles in the show, something this song supports to great effect. I don't have a lot more to say on this scene since it's new to Broadway, and I don't remember as much as the other scenes. Also I believe before this song is when Jeremy ditches his glasses, and I like the change from first preview in how that was accomplished (though I did laugh at the Spiderman rip-off that first night).
A Guy That I'd Kinda Be Into:
I MISS THE PART WHERE BROOKE NODS HER HEAD ALONG WITH CHLOE WHILE LECTURING CHRISTINE. This is in all caps because that shit was comic gold; why take it out? It also demonstrated how in tune with Chloe's whims and emotions Brooke is, which is to say, too much. If I can't have this back, I'm going to at least need someone to explain why it was taken out.
I believe this scene is where the Squip puzzles over the person Christine is, and I love both that she's entirely confounded him, and that post-song, she ultimately defeats his carefully constructed plotting just by being the unpredictable person she is.
As for the song, this has been unchanged that I can see, and that's because it does exactly what it needs to do well.
Upgrade:
One of the best changed scenes from Signature. It was fine there, but is much more fleshed out now, and gives more insight into many of the characters that is needed and appreciated. I especially appreicated the added dialogue between Jeremy and Brooke, in which we get Brooke's insight into her self-doubt, and how Jeremy's seeming interest moved her.
I did prefer how the Squip insinuated himself more in this scene at the first preview. When he was trying to get Jeremy to get with Brooke, he pretty much physically climbed on him to push him into her on the bleachers. In a future preview, the Squip stood completely away from them onstage, directing Jeremy with hand motions, and I didn't think that worked at. All. Last Sunday, he stood near them and physically pushed Jeremy with just his hand to kiss Brooke; while an improvement, it still wasn't as effective as the first preview for two reasons.
One, the complete disregard for personal space is just much funnier. Two and more importantly, when the Squip was literally pushing Jeremy's body into Brooke's with his own (imaginary) body, it demonstrated an important aspect of the Squip's control of Jeremy. What looks like the Squip being physically seductive is really a demonstration of his seduction of Jeremy's mind. This is significant, because Jeremy ends up doing a lot of things he doesn't particularly want to do, but the Squip seduces him into thinking he does. I found that incredibly effective.
Loser, Geek, Whatever:
My gripe with this otherwise effective scene is the singing of the song itself. Every time it starts to build steam melodically, it's cut off by Jeremy saying/shouting so many of the lyrics. The build-up then has to start again, leaving the song to finish up not as impactful as it could be. This could be a barn-burner Act 1 closer, and instead it's just pretty good. Also I don't know how Will Roland takes that loooooong end note up and down and back again, and still belt as powerfully at the end of it as the start. The show must be using some new can't-even-look-it-up-on-the-internet technology to pump air into his lungs from backstage. This actor has taken on a very difficult character and pitched it just on the line of where it needs to be to work. So impressive.
Halloween:
Love the song. LOVE the choreo (lookin' at you, Chase Brock.) Love LOVE the addition of the Squip front and center. This makes so much sense, because by manipulating Jeremy he's really manipulating all of them, and his inclusion in the midst of the party instead of on its periphery demonstrates this incredibly well.
I don't love the substitution of a pumpkin candle for a gas can. What even was that thought process? That sucks up the drama of that moment almost entirely. What level of foreboding does one accomplish with a pumpkin?
This scene contains my only major problem with the show, and that is Jake's sudden and unexplained loss of interest in Christine. Are we to infer that they slept together once and that's all Jake was after? And that all of his character development in Act 1 was bullshit? In which case what was the point of developing his character at all? This whole thing could be easily fixed by a line or two where Jake realizes he still has feelings for Chloe, but that never happens. I haven't seen the show since last Sunday (when multiple people told me it was locked in), so I hope since that time they've unlocked it to fix the one glaring flaw, either clarifying Jake is a dick, or Jake misunderstood his own feelings. In any event, Britton is absolutely CRUSHING IT with the nuances of Jake, and I can't wait to hear him on the Broadway cast album.
Do You Wanna Hang?:
Katlyn Carlson is a comic genius. All the little touches she throws into this hilariously awful attempt at seduction are amazing. The only part of this I liked better at Signature is when Jeremy asks her if she's jealous, and in this version she's crying while saying "obviously not." (Or at least she was on Sunday). I think this works better if she immediately *stops* crying at that point, playing it like it's the most absurd possible question Jeremy could ask.
Michael in the Bathroom:
Alternate title: George Salazar at the Tonys
Michael is quite simply the beating heart of this show, an odd role for a supporting character. As played by George, he is that quirky, too weird to be popular but too sweet to not love friend that if we were very lucky, we had growing up. Michael is so important because to be frank, Jeremy is kind of a self-involved dick. That would make the show entirely dependent on Will Roland's ability to make us relate to Jeremy through those trials he faces that we've all experienced - and he does an amazing job. But he also gets a Herculean assist from George, who so convincingly relates how steadfast and loyal to Jeremy Michael is, it makes us believe there's something special in Jeremy that warranted this devotion.
A Guy That I'd Kinda Be Into (Reprise):
During the couch scene between Jeremy and Christine, they've cut out Christine's very valid explanation as to why she can't date Jeremy (it involved getting to know herself better first). This is a problem, because it doesn't make sense at the end of the show when she likes him - we never see why she made that leap, so we're meant to assume she likes him for doing the bare minimum of correcting his own mistake. The way it was at Signature, we find out at least that she just isn't in a head space to date someone on the heels of her breakup with Jake, which shows she could be interested in Jeremy once she gets past that.
The Smartphone Hour:
Easily one of my favorite scenes. Tiffany Mann as Jenna is a delight from start to finish, and this is her moment to shine. Her comic sensibility is perfection. Lauren and Katlyn chime in with equally hilarious support.
My only complaint in this number is the slight lyric change to "Jake's house." For pity's sake, we just spent three or four songs at Jake's party; I promise you, we grasp who's house it is. And the change ruins the flow of the song a bit.
The Pants Song:
Okay yes this song is sweetly funny and does exactly what is needed to advance the plot here. But I just want to talk about Jason SweetTooth Williams overall right now. HOW IS HE A REAL PERSON THAT CAN SO EFFORTLESSLY JUMP FROM ROLE TO ROLE WITHIN SECONDS WITHOUT MISSING A BEAT. Mr. Reyes and his delusions of grandeur is my favorite, but Williams brings equal skill to all his roles, including Jeremy's dad. What a talent.
The Pitiful Children/The Play:
This may be my favorite song. Especially with the song, choreography, and performances here, this show is firing simultaneously on all cylinders. I also love that Jeremy and Jenna have an extended conversation that lets us know her a little more. Tiffany Mann gives a heartfelt authenticity to this that is lovely.
I think this is the scene where these critiques go (apologies if not). I wish Jeremy didn't tell his Squip "you were supposed to make Christine like me!" One thing I love about Jeremy is that he is not really into the popular girls, but the most interesting girl. He digs Christine because of all that she is.
When he says this line, he is upset because the Squip didn't make Christine do what he wanted, meaning he now wants her to change to like him. I think this would work better and make Jeremy come across as less of an incel if the line were more like, "you were supposed to make me someone Christine would like!" It was, after all, himself that Jeremy was looking to change - not Christine, who he loves as she is. That is this character's saving grace, and this diminishes it a bit.
That said, I do think there was an overcorrection in trying to make Jeremy more likeable. In the three previews I saw before Sunday, Jeremy tricks Jenna into drinking the Squip-spiked drink. In the last version I saw, he actually tells her what it is, and she immediately drinks it. It's pretty unrealistic that she would do that. Worse, it conflicts with Jeremy's "you were supposed to make Christine like me!" outburst. If we must allow for the fact the Squip has gained so much control of Jeremy he no longer cares that Christine likes him of her own choosing, he's certainly not going to care about respecting Jenna's need to consent to taking the Squip. Given the choice, I would either change Jeremy's line about making Christine like him, or his choice to tell Jenna what's in the drink. Back-to-back, they don't give us a good sense of how much control the Squip has of Jeremy at that point.
After Jeremy and Michael battle everyone and Jeremy makes his final choice, as the result becomes clear, Michael bizarrely explains what is happening on the spot. This makes little sense, especially in light of the fact that at the hospital, he asks Jeremy how he knew what would result from what he did. Um, he didn't know, you literally explained it to him in the middle of the last scene, bro. I would omit Michael's inexplicably instantaneous explanation from the Play scene and let the audience sit with the aftermath a moment, before having it clarified in the hospital scene.
Voices in my Head:
Not a fan of the lyric changes here, which seem to water down the edge of the teens ("she probably thinks that acne is hot") to morph them into Stepford children ("we got your back 'cause we are your squad" - vomit). Otherwise, this scene wraps everything up well and leaves you satisfield with the weird, wild journey you just went on.
What a score (my #1 favorite in all of musical theater history), what a cast, what a show! If there are not multiple Tonys thrown at this masterpiece, any significance the Tonys have is null and void.
In short, GET THERE or you’re missing the show of the year!











