The Broadway Musical Blog – Musical theater news and gossip from the Great White Way

Dishing out daily (or almost daily) Broadway musical news and gossip. The companion site to The Broadway Musical Home (broadwaymusicalhome.com), a directory of Broadway musicals with the story, songs, merchandise, video clips, lyrics, tickets, rights & awards for almost 200 shows.

Archive for Catherine Zuber

The Reviews for The King and I Are In…

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Photo by Sara Krulwich

The reviews for The King and I are in, and the critics universally admire this astonishing revival.  Playing at the Vivian Beaumont Theater at the Lincoln Center, this sometimes touchy standard is here crafted by the deft, thoughtful hands of director Bartlett Sher. Instead of hiding behind or overemphasizing the seemingly out-of-touch themes of the musical, Sher builds a world of openness and clarity, one where the story and its innate messages somehow ring as truthfully and broadly as ever. The production is at once lavish and large and intimate and honest, thanks in part to creative collaboration with Catherine Zuber (costumes) and Michael Yeargan (set), comrades from Sher’s 2008 South Pacific.  The cast is led by the stunning Kelli O’Hara who wins hearts and makes the tale all the more compelling. Ken Watanabe also plays a winning turn as the King of Siam, complete with an authentic language barrier at times.  Truth be told, there are dozens of reasons to add The King and I to your shortlist. Simply don’t miss it.

NEW YORK TIMES REVIEW

A big, scrupulously detailed 19th-century ship glides toward the audience in the opening moments of Bartlett Sher’s resplendent production of Rodgers and Hammerstein’s “The King and I,” which opened on Thursday night at the Vivian Beaumont Theater. It’s an impressive sight, worthy of every “oooh” it elicits. But … 

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TIME OUT NEW YORK REVIEW

Lincoln Center Theater’s “The King and I” arrives this spring much like the ship Chow Phya heaves into view of Bangkok on the Vivian Beaumont stage: a majestic vessel of excellent construction, expertly piloted and bringing with it many wonderful things—starting with Kelli O’Hara. What’s more, in a year of bland … 

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HOLLYWOOD REPORTER REVIEW

The mutual fascination and eternal struggle for understanding across the cultural divide between East and West is played out on a magnificent scale in Lincoln Center Theater’s breathtaking revival of “The King and I.” As he did with the company’s transcendent “South Pacific” seven years ago, director Bartlett 

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HUFFINGTON POST REVIEW

In a day and age when producers, directors and author’s executors think nothing of imposing their so-called artistic vision on Broadway masterworks that were pretty good to begin with, it is heartening to see producers, directors and executors just do the show as written. Lincoln Center Theater and director … 

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NBC NEW YORK REVIEW

The astonishing Kelli O’Hara is back on Broadway. This time, she’s leading Lincoln Center’s respectful take on “The King and I,” as schoolteacher Anna Leonowens, who stands up to the ruler of Siam — here, Oscar-nominee and Broadway newcomer Ken Watanabe. The revival of Rodgers and Hammerstein’s classic musical … 

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The Reviews for On a Clear Day You Can See Forever are In…

The reviews for On a Clear Day You Can See Forever are in, and though they aren’t the worst we’ve seen this season, they are nowhere near rave reviews. With some very intensive script-changes that throw gender-bending into the mix, critics found the new book almost as problematic as the original. The biggest upset was the splitting of the main female character’s multiple personalities into multiple cast members, rather than keeping it a showcase of one actress’ abilities. Most agree that Christine Jones’ sets and the songs themselves were the greatest stars, but overall were underwhelmed by this “reincarnation.”

NEW YORK TIMES

Toward the long-awaited end of the new semirevival of “On a Clear Day You Can See Forever,” which opened on Sunday at the St. James Theater, an eminent psychiatrist proposes that what we have been watching was perhaps only “my own psychoneurotic fantasy.”

Click here to read the full “On A Clear Day You Can See Forever” review.

ASSOCIATED PRESS

The diagnosis is in for Harry Connick Jr.’s Broadway musical about a psychiatrist undergoing a psychic meltdown: It needs more time on the couch.

Click here to read the full “On A Clear Day You Can See Forever” review.

HOLLYWOOD REPORTER

Respect to director Michael Mayer and playwright Peter Parnell for their audacious attempt at reinventing a problematic musical in the Broadway revival of On a Clear Day You Can See Forever. The 1965 show has always been much loved for its lush Burton Lane score but denied the stamp of greatness by Alan Jay Lerner’s over-complicated structural mess of a book.

Click here to read the full “On A Clear Day You Can See Forever” review.

VARIETY

The play initially was constructed as a vehicle for a star singer/comedienne (played by Barbara Harris on stage, Barbra Streisand on screen). The challenge and the fun came from watching an insecure neurotic instantly and repeatedly transformed through hypnosis into her glamorous, past-life self. Mayer has seen fit to divide this star part in half and have it played by two actors, removing the one element that thoroughly worked in the original.

Click here to read the full “On A Clear Day You Can See Forever” review.

NEWSDAY

It’s a relief and a special pleasure to report that Mayer, in a square-cornered turn from his smart-rock productions of “Spring Awakening” and “American Idiot,” has joined playwright Peter Parnell to change an unworkable plot into a more-than-serviceable gender-bending framework. There’s a mostly-classy cast, a fantasy op-art set and almost two dozen wonderful songs from the Broadway production and the film.

Click here to read the full “On A Clear Day You Can See Forever” review.

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