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 Joe DiPietro

The Reviews for Nice Work if You Can Get It are In…

With comedy tailor-made for Matthew Broderick and the delightful Kelli O’Hara, Nice Work if You Can Get It is a tribute to Gershwin and the musicals of his era, with a thin, silly story, wonderful songs and all the mugging a girl could ever want. If you feel musicals tend to be over-the-top and trite, you’ll want to stay far away from this one, but if you find yourself pining for some silly, escapist fun, reviewers agree, this kitschy show might be just what you’re after.

NEW YORK TIMES

“Every now and then, a bubble of pure, tickling charm rises from the artificial froth of “Nice Work if You Can Get It,” the pastiche of a 1920s musical featuring songs by George and Ira Gershwin. Most of this show, which opened on Tuesday night at the Imperial Theater, registers as a shiny, dutiful trickle of jokes and dance numbers performed by talented people who don’t entirely connect with the whimsy of a bygone genre.”

Read the full reivew

ASSOCIATED PRESS

“Kelli O’Hara has admitted that she was a little reluctant at first to sing some of the classic, heavily picked-over Gershwin songs before starting on “Nice Work If You Can Get It.” Thankfully that changed when she got to hold a gun.”

Read the full review

HOLLYWOOD REPORTER

“The last time Matthew Broderick headlined a major musical was opposite Nathan Lane in the instant blockbuster The Producers, the 2001 show that ushered in a new age of irreverence on Broadway and scooped up a record 12 Tony Awards. Mel Brooks’ runaway hit was sublime silliness, a giddy valentine to old-time musical theater with nothing on its mind but delirious entertainment. The same could be said of Nice Work If You Can Get It, which brings Broderick back in a disarming ball of fluff that seems tailor-made to fit his droll brand of comedy.”

Read the full review

AM NEW YORK

“Matthew Broderick, who hasn’t enjoyed much success on Broadway since “The Producers” a decade ago, manages to redeem himself in “Nice Work If You Can Get It,” a “new” Gershwin musical also starring Kelli O’Hara and other stage veterans who bring down the house in supporting comedic roles.”

Read the full review

ENTERTAINMENT WEEKLY

“If you’re not a musical-theater fan, Nice Work If You Can Get It will probably confirm your worst fears about Broadway. The mugging. The wigs. The wheezing one-liners. Directed and choreographed by Kathleen Marshall (Anything Goes) with a light-as-air book by Joe DiPietro (Memphis), the show uses a screwball love story between a Prohibition-era playboy (Matthew Broderick) and a bootlegger (South Pacific’s Kelli O’Hara) as an excuse for a medley of classic George and Ira Gershwin tunes. It’s as joyfully airheaded and kitschy as a drag show, which should make it a must-see for anyone with a more-is-more stance on sequins.”

Read the full review

The Memphis reviews are in …

You read what our guest reviewer thought of Memphis, the newest musical to open on Broadway, but what do the critics think?

Unlike Bye Bye Birdie, which was universally panned, reviews for Memphis were mixed. Here’s what the big media outlets had to say:

NEW YORK TIMES

Sex and race and rock ’n’ roll made for a potent, at times inflammatory, combination in the 1950s, when the new musical “Memphis” is set. But there’s no need to fear that a conflagration will soon consume the Shubert Theater, where the show opened on Monday night. This slick but formulaic entertainment, written by David Bryan and Joe DiPietro, barely generates enough heat to warp a vinyl record, despite the vigorous efforts of a talented, hard-charging cast. While the all-important music, by Mr. Bryan of Bon Jovi, competently simulates a wide range of period rock, gospel and rhythm and blues, the crucial ingredient — authentic soul — is missing in action. Read the full review.

ASSOCIATED PRESS

The sensuous, soulful sound of rhythm ‘n’ blues hits the audience right from the start of “Memphis,” the exhilarating new musical now shaking Broadway’s Shubert Theatre. Take a deep breath as the curtain rises because the exuberance doesn’t stop. Read the full review.

USA TODAY

You might expect a show called Memphis, with a score by rock keyboardist David Bryan and a book by Joe DiPietro, whose last Broadway outing was the jukebox musical “All Shook Up,” to be an homage to Elvis Presley. It isn’t — and for that, the Presley estate owes Bryan and DiPietro a debt of gratitude. Read the full review.

VARIETY

A talented cast, stirring vocals, athletic dance numbers and vigorous direction supply crowd-pleasing elements in the lively new musical, “Memphis,” as evidenced by the waves of appreciation coming off the audience. But there’s also a nagging predictability to this story of a white DJ who brings rockin’ rhythm and blues from black Beale Street to the mainstream in 1950s Tennessee. The show is entertaining but synthetic, its telepic plotting restitching familiar threads from “Hairspray” and “Dreamgirls,” while covering fictitious ground adjacent to that of recent biopic “Cadillac Records. Read the full review.

AM NEW YORK

Contrary to popular belief, rock and roll did not start with Elvis Presley. The new Broadway musical “Memphis” depicts its birth among black singers in underground nightclubs on the now fabled Beale Street – and how the art form was soon pirated by white businessmen as a form of mass entertainment. Read the full review.


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Memphis: A good time at the theater (A guest review by Peter Duchan)

Memphis

If you’re looking for a good time at the theater, Memphis may be just the show for you.

This slick and mostly entertaining new musical from the team that brought you The Toxic Avenger, centers on Huey Calhoun, a ne’er-do-well high school drop out who discovers his calling in promoting the rhythm and blues music of African-American singers, especially the beautiful and talented Felicia Farrell. Of course, Huey, who is Caucasian, falls in love with Felicia, and complications ensue.

Unfortunately, the musical is neither sensitive nor intelligent enough to handle these complications with the requisite depth, and this prevents Memphis from being a wholly satisfying musical theater experience.

Memphis belongs in a category of art led by “Mississippi Burning,” the 1988 film about civil rights, stories in which the white man gets a hefty amount of credit for a struggle he didn’t quite participate in. Memphis at least acknowledges this with passing references to the question of appropriation, as the basic story is one of white people finding success on black shoulders. On the whole, however, it feels overstuffed with broad simplifications and its only discernible theme or message is an uncontroversial plea for tolerance.

And yet, I had a great time. The production makes it pretty clear early on that, despite the seriousness of the subject, you are going to enjoy yourself watching it.

The pleasant but unremarkable score (David Bryan and Joe DiPietro) propels the show. There is hardly a moment without music, and it would take a stony heart not to groove a little in your seat. The book, by Joe DiPietro, is fast-paced and often funny, despite doing its fair share of pandering to an audience that is surely smarter than DiPietro assumes.

And the show boasts one of the most energetic and hardworking ensembles I’ve seen in a Broadway musical. They deliver Sergio Trujillo’s snappy and fun choreography with tremendous zeal and excitement. There are a number of fine dances peppered throughout, including one involving a group of girls jumping rope together, but Trujillo fails to seize many storytelling opportunities.

The production in general is upbeat and professional, but is often marred by a feeling of skimming the surface of what, frustratingly, must be a very deep pool. Characters are allotted their one emotion or conviction, as exemplified by the characterization of Delray, Felicia’s brother. He begins the show extremely protective of her and doesn’t seem to grow or change much in the course of its two and a half hour running time. This can be aggravating, since nothing Delray says ends up being all that surprising.

There is one standout performance in the piece, and that is Montego Glover as Felicia. The show only truly engages when she’s at its center, as in her first act dramatic number, “Colored Woman,” when she lets loose and bemoans a society that teaches African-American women not to dream.

But Huey (Chad Kimball) can’t seem to stop himself from stealing her thunder–despite vowing to make her successful–and it is his character that drives much of the action. His is a highly mannered form of showmanship, but he seems to hold the audience in the palm of his hand and received an enormous ovation at the close of the evening.

It’s always a pleasure to hear Cass Morgan sing, even if her character’s jump from stereotypical racist to beacon of tolerance is unsatisfactorily charted.

Musicals do tend generally to be light and upbeat and you can’t be too upset when one succeeds at being so. However, Memphis tackles a subject—broadly, American racism—that I feel deserves a little more nuance than the authors achieve. Nevertheless, the evening is an enjoyable one. I just wonder if you should leave a musical on such a heavy subject, turning to your companion and saying, “Boy, I had a terrific time.”

Peter Duchan is a playwright-screenwriter whose works have been screened at the Tribeca, South by Southwest, Gijon International, Brooklyn International, and many other film festivals.  He was raised in Westport, CT and currently lives in Manhattan.  He graduated from Northwestern University.

Peter was the winner of our September Memphis ticket giveaway.

Interested in guest reviewing a Broadway musical for the blog? Shoot me an email. I’m looking to assemble a great group of reviewers.

Kimball and Glover Will Star in Memphis on Broadway

Chad Kimball (Into the Woods, Lennon, The Civil War) and Montego Glover (The Color Purple, Ragtime, Aida), who both originated the starring roles in the show’s pre-Broadway La Jolla and Seattle engagements, will star in the upcoming Broadway production.

The Broadway production will also feature J. Bernard Calloway (The Good Negro), James Monroe Iglehart (The 25th Annual Putnam Spelling Bee), Cass Morgan (Mary Poppins), Derrick Baskin (The Little Mermaid), and Michael McGrath (Spamalot, Is He Dead?). Ensemble members include: Jennifer Allen, Brad Bass, Tracee Beazer, Kevin Covert, Hillary Elk, Dionne Figgins, Rhett George, John Jellison, Sydney Morton, Vivian Nixon, John Eric Parker, Jermaine R. Rembert, LaQuet Sharnell, Ephraim Sykes, Cary Tedder, Danny Tidwell, Daniel J. Watts, Katie Webber, Charlie Williams and Dan’yelle Williamson.

Christopher Ashley (Xanadu) directs the Joe DiPietro written (I Love You You’re Perfect Now Change, The Toxic Avenger) and David Bryan scored musical (The Toxic Avenger) with choreography by Sergio Trujillo (Next to Normal, Jersey Boys), scenic design by David Gallo, costume design by Paul Tazewell, lighting design by Howell Binkley and sound design by Ken Travis.

Previews begin Sept 23 and the show officially opens on Oct 19.

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