Performance date – 13 February 2020 (First Preview)
With much anticipation and fanfare, Six, the Musical arrives on Broadway at the Brooks Atkinson Theatre in the chilly month of February here in NYC. After a smash run on the West End, the legendary Queens of Henry VIII have finally journeyed across the pond and have been dutifully dipped in pop-diva glitz and glamour to welcome audiences on Broadway. They have been given the royal treatment as each has been disguised as a contemporary reigning “queen” of the pop scene and they are here to riff and rhyme on their individual and very compelling stories in their Contest of Consorts. This refreshing and fun (and quick) glimpse into a contemporary retelling of some very famous her-story is a raucous and exciting escape from reality that really takes you right out of the theatre humming the tuneful earworms written by Toby Marlow and Lucy Moss.
All six of the performers who embody the wifely sextet give outstanding performances in their own right. Each one is perfectly cast as they take their command throughout the evening with regal flair and dance moves befitting their respective roles . If there is a standout here, Andrea Macasaet as Anne Boleyn has to be commended for her vocal acuity and scene stealing moves that she brings to the group. Although, it is hard to single one out from this very capable and energetic ensemble. The sound design (Paul Gatehouse) is especially refreshing as they have opted for hand-held microphones perpetuating the pop-concert vibe and giving the vocalists complete control over how their voices are being picked up by those amplification devices. The mix is pure perfection; at the same time powerful and precise.
Each of our Queens is bedecked in one singular costume for the duration of the evening that assists with placing each of them squarely in the vein of the PopStar that they have been drawn from in “queenspiration.” The designs, by Broadway newcomer (and award-wining) Gabriella Slade gild the stage with a stunning array of actual sparkling diamonds. (Her designs, not co-incidentally, also appear on a Brit girl-group that you just might have heard of.) These frocks, with update$ from the London versions, are some of the best that theatre has to offer and quite literally keep the audience staring in awe throughout the show.
The short 90 minute piece definitely leaves you wanting more; but the score, costumes, lighting, choreo and PERFORMANCES are turning out to be one of the brightly lit shining stars of the 2020 Broadway season. This one is here to stay, get your tickets now.
Performance date – 13 February 2014 (First Preview)
A musical about Rocky? Does he sing? Is it any good?
These questions are on the lips of anyone who has passed by the Winter Garden Theatre (home to only 2 other productions in the past 30 years) or anyone else that has caught news of this big budget movie-to-musical production opening 13 March 2014. The answer to all three aforementioned questions is, YES. With book by Thomas Meehan and the original Rocky, Sylvester Stallone, music & lyrics by the incomparable writing team Lynn Ahrens and Stephen Flaherty and directed by Alex Timbers; this mega-musical takes it’s turn on the Great White Way and makes a big splash while doing so.
There has been much discussion of the expensive, mechanical set that supports this production. It is beautifully rigid and wonderfully depicts a very industrialized aspect of the Philadelphia that this story calls home. The intimate scenes are reinforced with very intimate staging, bringing this huge set together and focussing our attention on a tiny slice of stage real-estate. This is one of the best achievements of Mr. Timbers. He plays all the serious relationship and character building moments in the confines of a very small space, therefore the big picture moments look that much larger in our consciousness. These small apartment/shop sets are amazingly over-dressed, though. The pet shop scene, for instance, is so busy and overflowing with so much color and movement (are those tv screens showing cgi fish-tanks really necessary?) that it is difficult to actually see the actors within the scene and focus on what, one would assume, the director would like us to focus on.
It has been a pleasure to watch Andy Karl, who plays the title role, over the past few years. He is a perfect fit in this Tony-Worthy performance and has captured the essence of this down-and-out character in every possible way. He can sing, act, pull off the necessary fight choreo (and btw, looks great without a shirt), and really does an excellent job of embodying this character. Most importantly, he makes the transition between songs, dialogue and boxing seem completely effortless in what could be a real disaster if not played so artfully. He has taken great care to craft this character with both brooding turmoil and lovable qualities and the audience is really rooting for him just as much as they were for Stallone’s original take on the role. Kudos to you, Mr. Karl.
Thankfully, this production succeeds where other Movie Musical creations have failed in that they retain much of the musically thematic elements that assisted in making the original film a success. The original Rocky Theme, composed by Bill Conti and “Eye of the Tiger” by Survivor, have retained a major presence in this production. The two melodies are inextricably linked to this story in the hearts and minds of the millions of would-be theatre patrons and it is both refreshing and exhilarating when the tunes make their appearance in the show. Unfortunately, composer/lyricist team Ahrens/Flaherty aren’t as successful here as they have been in the past. Perhaps they, too, were struggling with where and when to put songs into this already richly established story and how to go about having a boxer(s) sing without becoming campy and unappealing. Rocky’s first song, “My Nose Ain’t Broken” is where this is all too apparent. Nice melody, nice scene even (yes, he sings a ballad to his pet turtles), but does the audience really need to start off on this journey about a struggling boxer who’s down on his luck by hearing him repeat over and over “Hey, my nose ain’t broken”? I mean, isn’t the point of music in a musical theatre piece generally that whole “the emotional point of the scene has become so great that we can no longer express the character’s emotion in any medium other than song” where we should probably be headed in the early stages of the show? Shouldn’t this be the driving crux of our Hero’s problem, OR a realization that he needs to make a change OR some other IMPORTANT story element other than a bleating lament and variation on the theme of “it’s not that bad”? Apollo’s opening number “Patriotic” is a nice distraction both visually and thematically from the dreary, dark world of the lead character’s struggle. It’s bright, refreshing, fun and gives insight into the motivation behind Creed’s actions. The beginning of Act II opens with a brilliant visual of the highly-anticipated training sequence, but seems interrupted by an insipid attempt to give the character of Micky a song that just begs to either be cut or integrated into some other point in the show. By this point in the show, we don’t really care about Mickey’s back-story and it brings the beginning of this act to a SCREECHING halt. Why not keep the seemingly unstoppable momentum going by combining the two training montages into one continuous knock-out blow for the audience? Or better yet, insert Adrian’s show-stopping number between the two?
Thanksgiving and what follows are two very heart-felt scenes where we really see the Rocky/Adrian romance blossom while being supported by a quirky song that embraces the awkwardness of these two characters finding each other at this moment in their lives. The bad jokes abound and we, the audience, begin to fall for this guy just as much as Adrian is finally showing us.
The character of Adrian, portrayed by Margo Seibert, has some stunning revelations throughout this show and in some ways a stronger character arch then our leading man. The opening pet shop scene in which we are introduced to her (which is one of those over-cluttered sets that I mentioned before), has her giving our Hero the VERY cold shoulder. So much so, that we are really questioning why he is barking up that tree in the first place, especially with the three hotties that just exited the scene during his entrance. Karl does a great job at playing the overly-sensitive, socially-awkward, but very interested young man here, and what we get from Adrian is, albeit, scripted but such a turn-off that no one in the audience is actually sure why he is pursuing her instead of her 3 co-workers who are, obviously more attractive and more willing to chat with him. I believe this is a directing fail, as the film source has the same issue but along with the intimate nuances of film, this problem is overcome. Later in Act II when she finally makes a choice to stand up for herself and her relationship in “I’m Done” we see both the power of this fresh young actress and also the experience of the veteran composer/lyricist team SHINE in one of the best developed theatrical moments and songs in the entire piece (which, unfortunately is smashed to bits less than 5 minutes later when Rocky states “You seem like a smart guy, a guy I need in my corner” and completely negates the strong moment that came before).
Before I forget… the Woof-Factor. WOOF (® @johnnyscruff 😉 This is one of the hottest Ensembles assembled in recent memory. Wow, this makes the $35 lottery ticket price REALLY worth it. All of these big, beefy, MEN are believable as both boxers and inhabitants of the world of this familiar story with nary a Mary amongst them (well that last part is almost true… but I’m pretty sure they fooled most of the str8’s in the audience). Good work Jim Carnahan and Carrie Gardner (CSA).
Which brings us to the spectacular final fight sequence. Yes, the entire show is a buildup to this moment. Yes, it’s pretty spectacular. Yes, it’s great fight choreography. And, yes, that final moment, post-fight, is truly magical. No one has ever seen anything quite as amazing as the final fight sequence in #ROCKYbroadway. All that aside, the focus shift away from what is truly important to this story, the love story, is a bit disappointing and is, ultimately, where this stage adaptation falls flat. Not to mention the fact that if you are one of the lucky people that paid top dollar to sit in the front 6 rows of this show; SURPRISE, during the final 20 minutes you are re-located to seats onstage, which may be fun for some, but you are actually going to miss quite a bit of the visual finale of this show; which, by the way, does NOT stay in the previously stated era. Stallone himself is quoted in promotional material for this production as saying “The fight was not the most important part… the part was the Heart.” If those are the words of the iconic man that created this story and has a book writing credit in this show, then why aren’t we ending the story that way?
This is a fun night at the theatre and a show that has a willing audience to play to for years.
Performance date – 17 January 2014 (First Preview)
For those viewers unfamiliar to the poignant story of Robert Kincaid and Francesca Johnson; director Bartlett Sher and Co. have an emotionally moving wallop of a Musical in store for you with the stage adaptation of Robert James Walker’s book, The Bridges of Madison County, currently in previews at the Gerald Schoenfeld Theatre. The beautifully simplistic scenic design by Michael Yeargan drops us in the midst of a small town Iowa farm while the craftsmanship of lighting designer, Donald Holder, literally paints the backdrop with perfectly nuanced lighting effects to add their assistance to the story-telling of this wondrous moment in the lives of the two lead characters played artfully (and sung masterfully) by the powerful, masculine baritone Steven Pasquale and one of Broadway’s best and well-loved “legit” sopranos, Kelly O’Hara.
A huge part of the success of this almost “chamber operatic” piece of musical theatre is the work of composer/lyricist, Jason Robert Brown who has taken some familiar aspects of different cultural sounds and woven them cleverly and melodically into his re-telling of this story of an Italian and an American who find themselves “Falling Into…” each other at a momentous intersection of their two lives. The classical/baroque strings and piano are complimentary of Francesca’s Italian roots and Robert has a more cavalier/contemporary sound that reflects his background. The meeting of these two very specific styles is truly one piece of the musical puzzle that Mr. Brown is putting together right in front of the audience, and one that keeps the story captivating and helps move the action of the story along. One of the most interesting aspects of this wonderful score, one that kept playing in this patron’ sub-consciousness, was that at times this score doesn’t necessarily sound puritanically JRB, but had hints of an atonal approach similar to, shall we say, Adam Guettel? (although perhaps it is simply hard to separate Miss O’Hara from the score of TheLight in the Piazza)
As is often found at the viewing of a “First Preview,” there are a few speed-bumps that should be taken care of in the next few weeks before opening. Mainly, the often un-important ancillary “extras” that seem to lurk around the stage from time to time are slightly distracting as well as deliver to us a few songs that simply have no business in the show (sorry, Hunter Foster, although you are a fantastic Musical Theatre Singer/Actor we just don’t care about your characters’ “Something from a Dream” nor do we need Cass Morgan’s rendition of “Get Closer” to keep us compelled to pay attention). Not to mention that very unfortunate, “was that tap?” bit that takes place in the opening of Act II… Cut.
Unpleasantries aside, the powerful work of both of the leading actors is worth the ticket price alone. These two are running full steam ahead at the TOP of their game. Their chemistry is truly wonderful to behold and the kind of magic that producers all over “The Great White Way” keep trying to find… Look No Further… It is HERE. A multitude of congratulations to these artists!
Listen to “Falling Into You” from The Bridges of Madison County… Click HERE
Attending a mid-week performance of Vaudeville’s latest installment here in NYC was a refreshing and entertaining night out. La Soiree, in it’s new home here at the Union Square Theatre, is a look back at a world of variety perfomers as they adapt and take their skills into a new era of night-life entertainment. This collection of eclectic acts showcases, among other things, a few perfect examples of the male physique.
One would assume that the acts will continue to appear on a rotating basis and that each show will be a unique experience. Hopefully those hotties don’t disappear anytime soon. Go check this one out!
The crowd of eager theatre-goers at the Eugene O’Neil Theatre JUMPED to their feet tonight at the conclusion of one of the season’s most anticipated Musicals. Yes… “those South Park boyz” CAN write a musical and, yes…TheBook of Mormon is a force to be reckoned with!
Yes, there are tons of pop-culture references, yes, there are tons of musical theatre references (the BEST one is actually the climax of the show) and YES it does walk “a Fine, Fine Line” between what is actually tasteful and what is borderline insanity… but the overall effect of the piece is definitely worth all the gags and punch lines. They have set the story in a war-torn, AIDS-ridden, uber-impoverished village in Africa, and have given the people there a glimmer of hope through the telling of the stories of Joseph Smith and Jesus. The show-stopping numbers of Act I are a fantastic journey into a world that can only be told through Musical Theatre and best surprise of the night is that the mostly male ensemble deliver Killer Vocals throughout the piece. No click-track needed here (a certain Mega-Million dollar show should take note).
The end of Act I and the opening of Act II could be strengthened a bit, and of course, there will be a better continuity with the running of the show over the next few weeks, but what I was most impressed with tonight was the clarity of the storytelling that was taking place. I think we all were ready for a two-and-a-half-hour long send-off of the Mormon faith, but that’s not what is happening here. Sure, there are some funny parts mentioned about Mormon-ism, but none that aren’t apparent in Mr. Smith’s already far-fetched book. Mr. Parker & Mr. Stone have chosen to let the book speak for itself in terms of kooky, off-the-wall “facts” that make up the Mormon faith and instead have focused on real world interpretations of the actual “Book of Mormon” to enlighten us with the story that they have chosen to tell.
I say, YES, this is a fantastic evening of entertainment with great songs, dance numbers, and (by God) good old-fashioned theatre. Looking forward to the subtle changes that are to come in the next few weeks and to see this show on Opening. Hassadinga Ibowa!
For those viewers unfamiliar to the poignant story of Robert Kincaid and Francesca Johnson; director Bartlett Sher and Co. have an emotionally moving wallop of a Musical in store for you with the stage adaptation of Robert James Walker’s book, The Bridges of Madison County, currently in previews at the Gerald Schoenfeld Theatre. The beautifully simplistic scenic design by Michael Yeargan drops us in the midst of a small town Iowa farm while the craftsmanship of lighting designer, Donald Holder, literally paints the backdrop with perfectly nuanced lighting effects to add their assistance to the story-telling of this wondrous moment in the lives of the two lead characters played artfully (and sung masterfully) by the powerful, masculine baritone Steven Pasquale and one of Broadway’s best and well-loved “legit” sopranos, Kelly O’Hara.
TheatreBear 