Pretty Woman: The Musical, the over-amplified wannabe tourist trap that opened Thursday at the Nederlander Theatre, illustrates the limits of vision-free Broadway producing.
The music is monotonous and draining, the book simplistic and clichéd (much more so than the film), and the acting wooden. The best elements are its Vegas-flashy sets (by David Rockwell) and its choreography (by director Jerry Mitchell).
REVIEW : The question at the heart of Head Over Heels is whether Elizabethan comedy and the music of the Go-Go’s go together. Sadly, the answer is no.
(See below for other opinions about the first musical of the season, which was capitalized for at least $11.6 million, according to investment papers.)
The jukebox musical that opened Thursday at the Hudson Theatre is (bizarrely) ostensibly based on Sir Philip Sidney’s 16th century Greek-mythological prose poem, The Arcadia. Thus the not-quite-iambic pentameter of the shepherd Musidorus (Andrew Durand), when he finds the skeletons of actors in the woods accompanied by a note: “These sad remains are of our theatre troupe, / Starved for lack of Serious Message.” This could charitably be called meta-commentary.
There’s cause for celebration in Bet Hatikva and Petah Tikva.
The Band’s Visit, a drama about acceptance, missed connections and the romance and ennui of everyday life, won 10 Tony Awards, including best musical. The triumph raises the profile of the quiet show about an Egyptian police band marooned in a sleepy Israeli town, who’d intended to go to a cosmopolitan city with a similar-sounding name.
Some takeaways from the CBS telecast:Continue Reading
The New York Drama Critics’ Circle voted not to give a prize for best musical this season, implicitly endorsing The Band’s Visit‘s Tony Award ambitions and rejecting Broadway’s other new musicals.
“It does bode well for The Band’s Visit,” Critics’ Circle President Adam Feldman said in an interview.
BEST MUSICAL SUSPENSE: There were just seven new musicals on Broadway this season, the fewest in at least a decade. Only one received “Critic’s Pick” from the New York Times and generally great reviews: The Band’s Visit, about an Egyptian ensemble stranded in a sleepy Israeli town. It has a now-Tony-Award-nominated score by David Yazbeck that’s packed with prospective cabaret standards. As expected, it did well, collecting 11 nominations this morning. But a source of its integrity, the understated drama — its “zero razzle-dazzle,” as New York Magazine‘s Sara Holdren put it — could be a liability with road presenters, who represent a chunk of the roughly 840 Tony voters.Continue Reading
Jeremy Gerard has left Deadline.com, the theater critic and reporter said in an email.
Gerard said his contract was not renewed and he was told that Deadline, officially called Deadline Hollywood, no longer plans to cover Broadway. Mike Fleming, the co-editor-in-chief, didn’t return an email. Gerard also covered newspaper and book publishing, with forays in television and film, especially around awards season, as well as public radio, urban planning, pop, jazz, classical music and opera. “I have had a great run at Deadline,” said Gerard, who joined the online show biz news outlet in 2014.
ANALYSIS: The 71st annual Tony Awards opened with Kevin Spacey as Evan Hansen in a goofy polo shirt and cast around his left arm. The ceremony ended moments after an acceptance speech by Dear Evan Hansen‘s producer.
In between there was suspense aplenty at Radio City Music Hall. While Dear Evan Hansen, about a socially anxious teenager caught up in web of lies, was methodically collecting awards, including for score and book, Come From Away won for director, Christopher Ashley. That win raised the tantalizing possibility of an upset by the feel-good musical set in a remote Canadian province after 9/11. Ultimately, Evan Hansen prevailed in a historic night.
EXCLUSIVE: The 71st annual Tony Awards may be the site of a Broadway rebellion.
On Sunday, the Tonys — a joint venture of the American Theatre Wing and Broadway League — is seeking to end the practice of dozens of producers rushing the stage at Radio City Music Hall when their show wins. Just six producers will be permitted onstage to accept each major award — for play, musical and play and musical revival — according to an email from League President Charlotte St. Martin and Tony Award Productions that was obtained by Broadway Journal.
EXCLUSIVE: The email was sent at 8:21 am Sunday, Sept. 23, 2012. Subject line: “Confidential.”
“Have you ever Googled Mark Hotton Long Island?” wrote Marc Thibodeau, press agent for Rebecca the Musical, to lead producer Ben Sprecher about the West Islip, Long Island, stock broker Sprecher hired to raise money. Thibodeau wrote that he discovered “several instances of lawsuits against him for fraud.”
The publicist added that the broker hadn’t produced evidence that an investor named Paul Abrams who purportedly died of malaria — one of four mysterious overseas angels Hotton recruited — ever existed.
