Archive for Matthew Broderick
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.”
“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.”
“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.”
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.”
“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.”
Opening/Closing on Broadway: Shrek, White Christmas, Finian’s Rainbow, Ragtime, Come Fly Away, American Idiot, Altar Boyz, Ragtime
As previously announced, Shrek closed on Broadway on Sunday after an admirable run of 441 performances at the Broadway Theatre. Also closing Sunday was the holiday favorite White Christmas, which played out its limited engagement at the Marquis.
And last week a shocker of an announcement hit Broadway audiences that another of the critically acclaimed productions that just opened – Finian’s Rainbow – will be playing its last performance on Jan 17. Coming on the heels of the Ragtime closing announcement, a number of big names like Matthew Broderick are doubting the lasting power of anything that’s not a “sure bet” in this economy…
But, along with the closings and bemoaning came some happier news: Producer James L. Nederlander announced that Come Fly Away, Twyla Tharp’s Frank Sinatra inspired musical, will open March 25. The musical, originally titled Come Fly With Me, played a sold-out engagement last year at the Alliance Theatre in Atlanta.
And it’s official: another out-of-town favorite, American Idiot, is taking over at the St. James on April 10. If you haven’t yet heard of this show, you soon will – the creative team is an incredible assembly of Broadway big-hitters, and if the reviews from its Berkely Rep run are any indication – this show may be a contender for many of those looking for one of Broderick’s “sure bet[s].”
If we’ve learned anything from 2009 it’s this: if there’s anything on Broadway you’ve been dying to see, see it now! Unless it’s Phantom of the Opera or Wicked, there’s no guarantee it’ll be around beyond next week.