And I think the New York Times already reviewed unfavorably the original Stratford Staging. Nice to see it coming into town a hit with local Southern California audiences, but NYC is an entirely different ball game.
I haven't been on these boards in a while. Is "Follies" the leading contender at this point for best revival? What are the other possibilities? JCS Follies On A Clear Day Porgy And Bess Evita Godspell ??
New York obviously, as we've seen countless times, takes to shows that have been successes elsewhere (be it California, Seattle, Canada or London) very differently. I'm not sure I'd say Isherwood's Times review was unfavourable as opposed to mixed (yes, I know, everyone on here has different definitions of what a mixed review is). His main problems with the show seemed to be that he doesn't think it works in any production, and this production's strengths didn't make up for that.
"Mr. Nolan, with the traditional blond curls of Renaissance portraiture, has a strong tenor that can stretch toward the screeching high notes of Jesus anguished night of doubt in the second-act climax, Gethsemane. But as in other productions Ive seen, this revered figure remains a dramatic blank, storming through the temple or somberly admonishing the apostles without evincing much in the way of a real human personality, despite all the debates about whether he is just a man or the true son of God. (If being semi-divine means striding around looking tortured and noble, Id be inclined to give Mr. Nolans Jesus the benefit of no doubt whatsoever.)
Mr. Youngs superbly sung Judas is much livelier, imbued with an embittered ferocity that seems to stem primarily from irritation at having his hot and heavy bromance with Jesus compromised by the comely Mary Magdalene, played with simple ardor and rich voice by Ms. Kennedy. "
"In this context it might be tempting to view Jesus Christ Superstar that title alone! as a South Park-flavored send-up of itself. But the show doesnt really support such treatment, and Mr. McAnuff tries to walk a line between respect and subversive flash that doesnt quite solve the problem. As Jesus stretches his arms out wide, striking the famous pose that has come to symbolize human suffering and the extremity of his sacrifice, a glowing cross made of golden light bulbs descends from above to light him from behind. Its the Crucifixion as a big finish, but its not meant to be a gag. "
"Mr. McAnuff has had great success on Broadway with the rock-based musicals the Whos Tommy and Jersey Boys. A composer himself (he also wrote the incidental music for his concurrent production of Twelfth Night at the festival), he is clearly inspired by the challenge of marrying rocks visceral intensity to the demands of theatrical narrative. His production is clean-lined, strongly sung and dramatically focused. "
(I won't bother quoting his praise for Brent Carver as it's now a non issue)
Only Jesus Christ Superstar and Evita seem like they will make it to the Tonys but depends on how they are reviewed. Evita didn't even make it a year in London where it is a more popular show. If Jesus Christ Superstar gets panned by the New York Times it might not make it till the Tonys.
Well, considering the fact that in Stratford the show got a love letter from everybody but the Times, and that every paper that has reviewed it in its La Jolla run so far has continued this trend, I can only predict that this may be a show the NY Times won't be able to kill. But it's too early to say for sure.
"There is no problem so big that it cannot be run away from."
~ Charles M. Schulz
And the Times pan was really more "I HATE this show... but the production is really good and full of talent... but I HATE this show" from Isherwood. In spite of his not being able to like the show even in a good production, he pointed out the production's strengths. Don't get me wrong, the review was mostly negative, but he left pull quotes. If he doesn't like something and is out to kill it, he'll write the review carefully enough that they can just barely use anything (like, say, Godspell -- JUST AN EXAMPLE, DON'T DELETE THE THREAD).
"There is no problem so big that it cannot be run away from."
~ Charles M. Schulz
The nominees will likely be Follies, Evita(unless it bombs), JCS & Porgy & Bess(based on names). No way On A Clear Day gets nominated and Godspell will only get nominated if Evita bombs.
A Chorus Line revival played its final Broadway performance on August 17, 2008. The tour played its final performance on August 21, 2011. A new non-equity tour started in October 2012 played its final performance on March 23, 2013. Another non-equity tour launched on January 20, 2018. The tour ended its US run in Kansas City and then toured throughout Japan August & September 2018.
EVITA won't bomb - I didn't think (Elena Roger's great performance aside) the revival in London was especially inspired but it was good enough for a Tony nomination. Hopefully in the six years since it played London the creative team will revisit some of the things that didn't work in that staging. Nominees will likely be EVITA, PORGY, FOLLIES and JCS
Having just seen the La Jolla production let me say first that not everything in the San Diego Union review was a rave. But it is a very impressive production.
It is wonderfully creative and paced. It is very slick. I can see critics liking it a little more than the public. I think that some people did not appreciate the new look and approach.
And the Times pan was really more "I HATE this show... but the production is really good and full of talent... but I HATE this show" from Isherwood. In spite of his not being able to like the show even in a good production, he pointed out the production's strengths. Don't get me wrong, the review was mostly negative, but he left pull quotes. If he doesn't like something and is out to kill it, he'll write the review carefully enough that they can just barely use anything (like, say, Godspell -- JUST AN EXAMPLE, DON'T DELETE THE THREAD)."
I'm not touching the Godspell bit But, exactly. I think it'll do well enough with New York critics overall. (I've never compared Isherwood to Brantley but when they review the same show, do they tend to agree or not?)
Butters, go buy World of Warcraft, install it on your computer, and join the online sensation before we all murder you.
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ATTENTION FANS: I will be played by James Barbour in the upcoming musical, "BroadwayWorld: The Musical."
Part of the problem with the 2000 revival was that it was a stylistic mixed bag. Design-wise, the priests were straight out of The Matrix, the Roman guards wearing modern riot gear looked more like Darth Vader, Jesus and the apostles appeared to have escaped from Rent (or a GAP outlet, take your pick), and Herod was the Emcee from Cabaret with less gay and more chorus boys. You could see they were trying to tie it to today and make it an "edgy," "passionate" production with "impact." Instead, they tried to appeal to too many common denominators, and fell on their ass.
Casting was also a major problem. As my colleague Danny Zolli, who's done this show way more often than the next man (unless the next man happens to be Ted Neeley), puts it, "It was misconceived from the get-go [...] On the whole, I didn't care for that production. Not even close. [...] The Broadway production was, in my opinion, a very English style production of the show. American audiences don't tend to respond to that very well. American audiences want their Jesus' and Judas' to be willing to cough up a lung for them in the course of the show. It's called 'the Passion' for a reason. There has to be passion within the actors and actresses performing the roles in order to give the story its justice." I couldn't put it better myself.
"There is no problem so big that it cannot be run away from."
~ Charles M. Schulz
Oops... while mentioning the stylistic mixed bag, I forgot to mention the one choice that would have worked in the right production: Pilate as an SS officer, in full Gestapo uniform. (HINT TO MODS: If I got the ability to edit my posts back, maybe I wouldn't have to do this in every thread I post in if I think of something else.)
"There is no problem so big that it cannot be run away from."
~ Charles M. Schulz
I didn't feel the tempo was wrong. The show moves wonderfully. and Ripped Man, Josh Young is incredible--both singing and acting. If there is to be a Tony performance from this production, his would be the one.
In my opinion, the only weakness in the show is simply the weakness that the original material brings to the stage.
I saw the original production in London when I was pretty young and unfamiliar with the music. It didn't do much for me at that time. This production is far more memorable and exciting. If you don't particularly like JCS, you might still not like this one. But with this one, you have a shot.
The TIMES has a strange history of having the same reviewer review the show when it comes in. I think it's silly cause a second opinion would alsways be welcomed. But if they stick to this policy they will get Isherwood again.