Archive for Rob McClure
The reviews for Honeymoon in Vegas are in, and this cheese-laden Las Vegas glitter-bomb seems to have all the stuff of a winner. Based on the 1992 film, Honeymoon in Vegas pits two men (of totally opposing temperaments) against each other in battle for the same woman. What the story lacks in complexity, it makes up for with goofiness and outlandishness that make the entire world (from Brooklyn to Vegas to Hawaii and back again) both endearing and entertaining. The leads hit their marks – Tony Danza, Rob McClure, and Brynn O’Malley all deliver strong performances — but the original score is the real star. Jason Robert Brown deftly blends motifs of brassy, Vegas lounge music with the Broadway style he knows so well. Whether you still miss Danza’s “Who’s the Boss?” or love Jason Robert Brown’s work or just want to see something dazzling, Honeymoon in Vegas is a good bet for you.
NEW YORK TIMES
“Wake up and smell the mai tais, New York. Las Vegas has come calling on you. And it’s on such good behavior, you’d be a churl not to embrace it as if it were a long-lost sibling. As embodied by the bright and bouncy new musical Honeymoon in Vegas, which opened on Thursday night at the Nederlander Theater, the…”
TIME OUT NEW YORK
“How to answer snobs who denounce Broadway as a cultural wasteland of gaudy lights, musical cheese and tacky titillation, a place where suckers from around the world flock to get fleeced? You could say at least it’s not…Las Vegas? Well, the Great White Way has now become Sodom of the Southwest, and whatever happens ther…”
NBC NEW YORK
“Would you bet against Tony Danza? I sure wouldn’t, certainly not in a vehicle as full of cheesy goodness as Honeymoon in Vegas, which just opened at the Nederlander Theatre following a well-received world premiere at New Jersey’s Paper Mill Playhouse. All the leads are back for the Broadway run. Adapted from the 1992 film, which…”
“Honeymoon In Vegas answers gloomy Gotham’s crying need for some good old lowbrow farce — the kind of show with silly songs, mindless physical comedy and towering showgirls in feather headdresses. Scribe Andrew Bergman has turned his not-quite-cult 1992 movie (with James Caan, Nicolas Cage and Sarah Jessica Par…”
“In the 1992 screen comedy Honeymoon in Vegas, Nicolas Cage gets over his prolonged wedding jitters and flies exasperated fiancée Sarah Jessica Parker to Nevada to tie the knot, only to risk losing her to shady professional gambler James Caan, who sees her as a dead ringer for his dear departed wife. I…”
Congratulations to the 2013 Theatre World Awards winners!
The winners will be presented their pretty prizes in a ceremony to be held on Monday June 3, 2013 at 6:45 pm at the Music Box Theatre, hosted by Peter Filichia and directed by John Tartaglia.
Check out the list below!
Bertie Carvel, Matilda The Musical
Carrie Coon, Who’s Afraid of Virginia Woolf?
Brandon J. Dirden, The Piano Lesson
Shalita Grant, Vanya and Sonia and Masha and Spike
Tom Hanks, Lucky Guy
Valisia Lekae, Motown: The Musical
Rob McClure, Chaplin The Musical
Ruthie Ann Miles, Here Lies Love
Conrad Ricamora, Here Lies Love
Keala Settle, Hands on a Hardbody
Yvonne Strahovski, Golden Boy
Tom Sturridge, Orphans
DOROTHY LOUDON AWARD
Jonny Orsini – The Nance
JOHN WILLIS AWARD
As always, we’ll be live blogging, tweeting and facebooking with you throughout all of this year’s awards and you can follow our full awards coverage on The Broadway Musical Home.
Happy awards season!
The reviews for Chaplin are in…and they aren’t too sunny. Filled with clichés, the critics are not finding much good in this take on the little tramp. With unmemorable music and tiresome dance numbers, even the talents of relative newcomer Rob McClure can’t escape the show’s terrible writing unscathed; this is one show that’ll have to rely on its fans to get it through, cause these reviews sure aren’t going to help…
See for yourself:
NEW YORK TIMES
“This sour-smell-of-success story, which features songs by Christopher Curtis and a book by Mr. Curtis and Thomas Meehan, is steeped in a sense that Chaplin the person, as opposed to Chaplin the fabled silent comedian, has gone missing in action, devoured by a swarm of man-eating clichés….“Chaplin: The Musical” takes itself very seriously as it delivers the unsurprising news that a clown cries….The lens through which we see most of “Chaplin,” is blurred, as if with Vaseline….Yet a stolidly conventional heart beats beneath these airy trappings: a by-the-book rags-to-riches-to-loneliness saga, underscored by vaporous music (which includes, I swear, celestial choruses of “aahs”) and vaguely period dances that go on forever without going anywhere.”
“The most treacherous part of producing a biomusical about an iconic performer is finding an actor who can convincingly handle the role. The producers of “Chaplin” — this fall’s first Broadway offering — have passed that difficult test, with relative newcomer Rob McClure proving a small wonder as the Little Tramp. But they have come up all thumbs, alas, in the writing and staging departments. In the hands of composer-lyricist Chris Curtis (who has penned theme songs for the Discovery Channel) and Curtis’ co-librettist Tom Meehan (“Annie,” “The Producers”), Chaplin’s remarkable life veers into cliche.”
AM NEW YORK
“You’ve probably seen worse musicals than “Chaplin,” a forgettable biography of Charlie Chaplin. But how did this slow-paced and sentimental musical, which has the taste of a cup of coffee mixed with a dozen packets of sugar, make it to Broadway? The songs of Christopher Curtis – who has previously written theme songs for the Discovery Channel – are occasionally tuneful but mostly tacky. Still, they are far better than the show’s melodramatic and strange book.”
“Despite an enigmatic, career-making performance from Rob McClure in the title role, an earnest turn from Wayne Alan Wilcox as his tag-along brother Sydney, and an engaging performance from Erin Mackey as Chaplin’s late-in-life love Oona, “Chaplin” is a musical where the material is just not up to the complexity of its enigmatic subject. It’s impossible to believe that the creator of such masterpieces as “Modern Times” and “The Gold Rush” would express himself in such prosaic, cliched terms.”
“It’s hard to know where to begin with “Chaplin,” the dismally dull musical by Christopher Curtis (book, music, lyrics), with an assist from Thomas Meehan (book), based on the life of perhaps the cinema’s finest auteur, Charlie Chaplin. The most the writing aspires to is mediocrity, which it rarely if ever achieves, something Warren Carlyle’s busy direction and choreography can’t disguise. The one performance of note comes from the extremely gifted Rob McClure in the title role, but the show’s relentless shopworn sentimentality erodes even his fine work. Nobody escapes “Chaplin” unscathed.”