As I was saying...

bk - I actually think I liked
ACL just as much as you did/didn't. I was just in a hurry earlier, so...
I knew that the orchestrations had been futzed with, but I had no idea that bits and pieces - in one case, the whole opening section - of certain songs were re-arranged, re-orchestrated and re-conceptualized. I mean, if the song was a "pop song" back then, then keep it a "pop song" now - there's nothing wrong with that. With all this talk from Mr. Breglio about wanting to be faithful to Michael Bennett's vision and legacy...
And I have to say my biggest quibble was not hearing a real piano in the pit. Yes, that new Kurzweil keyboard/sample is pretty good, but that whole opening sequence has a great edge to it when it's played on a real piano. Although, I didn't much of the music had that needed edge to it. And I'm betting that the conductor is most likely using a click track for most of the dance sections to keep the tempos accurate - some tempos just seemed a bit too accurate, not internal "breathing" and rubato. -I need to confirm or deny that with my friend who's playing in the pit - and who I will most likely sub in for eventually. *And I would have also ditched the Key 3 book - even though it would be another potential sub for me - and brought in a real guitar. That synth guitar is embarrassing. In any case...
Alas, I think the whole production is a victim of sorts of just how much better the training of singers and dancers is nowadays. Everybody strives to be clean. Everybody strives to be perfect. Perfect diction. Clean lines. Perfect unisons. However, I think
ACL works best when there is some "dirtiness" to it. It just makes it more real. *Even the "mistakes" seemed a bit too rehearsed to me.
-And, boy, do the pit singers get more of a workout than they used to!
As DR Cillaliz mentioned... I, too, wanted goosebumps, and I just didn't get them.
*And I'm also wondering why Tharon Musser's original assistant, Richard Winkler, did not get the lighting duties for the revival - especially since he's lit almost every major production of the show post-Broadway. -I may have been sitting a bit too close to notice, but I didn't spot the Mondrian effect.