I asked my mommy, "What does F*CK mean?" Are they twying to sing "The Witch of Wiving?" The two people needed to put their cwothes back on. They weawwy seemed to wike each other.
Butters, go buy World of Warcraft, install it on your computer, and join the online sensation before we all murder you.
--Cartman: South Park
ATTENTION FANS: I will be played by James Barbour in the upcoming musical, "BroadwayWorld: The Musical."
Here's my review from earlier this week when I saw a press performance. I really hate to admit it, because I dont like to agree w/Talkin Bway, but I really didn't like it. I'm hoping Brantley gets to take a stab at this one, we've already heard Isherwoods take. But if we do get Isherwood, I hope he reflects upon the show working better off-Bway than it does on.
While it does take longer for reviews to show up for Sunday openings, so far we're right on the normal schedule. Talkin Broadway always appears at curtain time and The AP is usually up right before or right after that. Then there's usually a lull until Variety appears around 9pm or so (now). Theatremania and Newsday usually appear anytime between now and midnight. The Times is completely unpredictable, appearing sometimes as early as 7:30 and as late as 11:30. USA Today, Washington Post are usually up by 1. Newark Star Ledger & NY Sun around 2-ish. The NY Post around 4-ish and The Daily News around 5.
"What a story........ everything but the bloodhounds snappin' at her rear end." -- Birdie
[http://margochanning.broadwayworld.com/]
"The Devil Be Hittin' Me" -- Whitney
I saw it at The Atlantic, but haven't had the time for a return visit yet since it's move to Broadway. Downtown, I found the performances to be energetic and often engaging (though some of the ensemble was a bit too cartoonish) and Mayer's staging to be some of the best I've seen from him (not that I was a fan before, but he does a very good job of pacing here and creating some lovely stage pictures with the aid of the set and lighting designers). I did find, though, that his transitions between the book scenes and the music were often jarring and not as seamlessly accomplished as they could have been, making the core conceit of using contemporary rock as a backdrop for an 1890 story feel more anachronistic than it ideally could be.
I thought Sheik's score, while catchy with a properly propulsive drive, worked on its own terms (and will probably sound fine on CD), but failed to be fully integrated into the storytelling. It often only functioned to set mood and occasionally comment on the action, rather than being a vital part of it, rarely serving to inform character or advance the plot -- which ideally should be the function of a theatre score. The score struck me as a bit anthem-heavy, with lyrics that too often relied on slogans and cheap sentiment rather than genuinely expressed thoughts and emotions.
Problems in the book also heighten the rather disjoined marriage of story and song, remaining too faithful to the source material -- which works on its own terms as an example of 19th century German expressionism, but, as written, isn't an ideal blueprint for a musical. Characters are sketchily drawn and situations are underdeveloped -- issues which a more integrated score could have help solve, but as presented here, neither the book nor the score have overcome the representational nature of the material and lack the necessary depth to make the sort of impact the creators intended.
There are a lot of interesting aspects to the piece and there were a few numbers which I enjoyed and found compelling, but I was disappointed with the overall execution.
"What a story........ everything but the bloodhounds snappin' at her rear end." -- Birdie
[http://margochanning.broadwayworld.com/]
"The Devil Be Hittin' Me" -- Whitney
"Beautiful, messy, exhilarating, awkward, vital: They're all adjectives you might use to describe first love. So it's fitting that you could also readily apply them to Spring Awakening, the imperfect but transcendent new musical that opened Sunday at the Eugene O'Neill Theatre.
Steven Sater and Duncan Sheik's adaptation of German playwright Frank Wedekind's 1891 drama tracing the sexual and moral oppression of teenagers — and its disastrous impact on budding thinkers and lovers — arrives on Broadway after an acclaimed run at the Atlantic Theater Company. More than one critic compared it to Rent, a reference that would seem logical given Spring's focus on rebellious youth and Sheik's background as a pop singer/songwriter.
But Spring is at once a less polished and more resonant work. Where Rent creator Jonathan Larson both embraced the bombast of rock-era theater and aspired to a more conventional sophistication, Sheik approaches the stage with the fresh eyes and open mind of an artist accustomed to an entirely different tradition.
In doing so, Spring's composer manages to deliver lovely, graceful pop melodies that work in a theatrical context — that is, to propel a story and elucidate its characters."
"What a story........ everything but the bloodhounds snappin' at her rear end." -- Birdie
[http://margochanning.broadwayworld.com/]
"The Devil Be Hittin' Me" -- Whitney
Yeah, I'm so happy about the current reviews ( like 3 1/2 out of 4 stars from USA Today!) but the Times review will have probably the most influence. *crosses fingers*
Variety's review brings up a point about the ticket price. Rent, its most obvious competition, is still $95 for Sun-Thu performances. Perhaps SA could think about lowering the prices a bit, perhaps to Rent levels? Those couple of bucks is a lot to the younger audiences, and it would go a long way to making the choice between the shows.
I do have to say though, I am breathing a sigh of relief at the raves thus far. (Seriously, what's with Talkin' Broadway? Do they need an enema or what!)
"Hey little girls, look at all the men in shiny shirts and no wives!" - Jackie Hoffman, Xanadu, 19 Feb 2008