Amazing Grace- Page 3

[Mister Matt]

Posted: 10/17/14 at 11:20am

Women on the Verge is such an ensemble piece, I thought the score worked extremely well. Addams Family is for the most part as well given that the book was really an adaptation of You Can't Take It With You and the family itself is so hugely iconic. It was just a poorly written show with a forgettable score.

I think the distribution of songs to characters should be determined by the structure of the book and style of the show. For example, how well would Godspell work if everyone didn't have their own song? Or what about Ragtime, one of the most celebrated scores of the last 20 years? How many is too many? Oklahoma gives featured solo numbers to 6 characters while Women on the Verge does with 5. Ragtime has more than that.

Giving too many characters their own songs may be a fault in some poorly structured shows, but there are way too many exceptions for it to be a blanket rule applied to every musical.

Updated On: 10/17/14 at 11:20 AM

[Anshel2]

Posted: 10/17/14 at 4:19pm

Well, I must say that a shirtless Josh Young all tied up is reason enough to buy a ticket.

[RippedMan]

Posted: 10/17/14 at 9:29pm

This show looks so cheestastic.

And sorry, Mister Matt, but I disagree. As someone who sat through Women on the Verge twice, I don't think all those characters needed their own songs. And I'm in the minority, but I don't love Ragtime. I think third person narrative is a horrible choice for a musical. But to each their own. Why, in Addams Family, does the Dad of the boyfriend need his own solo? He doesn't. We don't care about his story.

[Wilmingtom]

Posted: 10/18/14 at 11:03am

How is the choreography?

[Marlothom]

Posted: 10/20/14 at 9:34am

The choreography is fine - the show doesn't really call for much dance; except for the sections that take place in Africa.

Saw this again last night after seeing it in previews; they have really tightened up Act 1, made some good cuts and tried to a more rousing end to Act 1. Act 2 is still a bit long but all is forgiven (by the crowd) with the title song at the end; the entire audience were on their feet. I think with some tweaks to the book; a few more catchy melodies and some additional cuts to Act 2 (after their Chicago run) this show could be something.

[Paul W. Thompson]

Posted: 10/20/14 at 11:02am

Here's my review for BroadwayWorld!

https://www.broadwayworld.com/article/BWW-REVIEWS-AMAZING-GRACEs-World-Premiere-in-Chicago-Sweet-Sounds-Heavy-Themes-Close-to-Completion-20141020

[AlfieByrne]

Posted: 10/20/14 at 11:07am

Saw it over the weekend. Pretty awful. ***Possible spoilers ahead**

Here are my unorganized notes:
- Direction is mostly uninspired, as an earlier post noted. Bizarre choices also were laughably bad (e.g. the slo-mo underwater rescue scene, scene freezes during the escaping of the slaves in the second scene, awkwardly staged slave auctions, the unconvincing whipping of Josh Young's character etc.) It's essentially a high school direction with regional theatre budget.
- The story is SO cheesy. The romance really messes up with the otherwise serious tone of the show.
- I can't remember any of the songs, but I do remember being impressed by Josh Young's first song.
- Gattelli's choreography is meh.
- Of course the instant the African tribesmen are introduced, they have to go into a stereotypical tribal dance.
- Erin Mackey was serviceable.
- I cared none for Josh Young's character.
- The title song was slapped on at the end with no purpose. They even did an encore at the curtain call.
- The issue of slavery seemed to simply become a vehicle to tell yet another story about a young white couple. It's a musical that deals with slavery and the slaves are simply supporting characters. John Newton had it so rough! He sacrificed so much to abolish slavery. Yup, post-racial America.
- Eugene Lee's design is perfunctory, but perhaps that is due to the budget constraints.


About 20% of the show wasn't bad (was not exceptional either, mind you). The rest had me bored/cringing/unintentionally laughing.

[GilmoreGirlO2]

Posted: 10/20/14 at 11:48am

The issue of slavery seemed to simply become a vehicle to tell yet another story about a young white couple. It's a musical that deals with slavery and the slaves are simply supporting characters. John Newton had it so rough! He sacrificed so much to abolish slavery. Yup, post-racial America.

I, too, had a similar reaction, but hadn’t mentioned it in my original review, because I hadn’t fully formed an intelligent thought on the matter. The portrayal of the slaves did seem a bit stereotypical to me – I also took note of the stereotypical tribal dance and how all of the songs sung by an African person had that African tribal beat infused into it. I couldn’t tell if I thought this was paying homage to their culture or a bit stereotypical, but it did rub me oddly. I also agree that the show felt like a lot of white people proclaiming that slavery is bad and then getting praised for saying so. I understand that the show is about John Newton, but it did sometimes come off as using the plight of these African slaves to trumpet up the white people.

For those interested, here is Hedy Weiss' review:
http://23.253.170.160:15715/stage/new-musical-amazing-grace-sings-sin-redemption/

I don’t believe Chris Jones’ (the Chicago Trib) is up yet.

[bwaybby]

Posted: 10/20/14 at 3:21pm

Broadway World seems to be a rave...or close

https://www.broadwayworld.com/article/BWW-REVIEWS-AMAZING-GRACEs-World-Premiere-in-Chicago-Sweet-Sounds-Heavy-Themes-Close-to-Completion

Can a new musical be "pre-Broadway" without having a New York theater booked, or without even announcing a timetable for said booking? How about a musical largely penned by a previously unknown writer, one who worked as a Pennsylvania policeman, and never formally studied music composition? Well, AMAZING GRACE is that show, and this expensive-looking, high-aiming show that's been in development since 2007, with book, music and lyrics by Christopher Smith (the book is co-written with the veteran playwright Arthur Giron) opened on Sunday night. It had New York actors (some quite well known) onstage, an A-list New York design team in the wings, and an enthusiastic audience at a theater named Shubert. Well, almost. The Nederlander Organization renamed the theater the Bank of America Theatre a half-decade ago, and it's located in Chicago. It runs here through November 2, 2014 presented by Broadway in Chicago.

The musical tells the tale of the early life of the man who wrote the text for Christendom's most well-known non-Christmas hymn, giving the musical its title. I'm judging that fact as neutral in the audience and ticket business, as it may turn off as many people as it interests. And those turned off will be missing quite the story, indeed, as John Newton was a real-life 18th century Englishman who spent a number of years in "riotous living," as the Biblical parable of the Prodigal Son would style it. To get to the heart of the matter, he was a slave trader, and a non-religious one at that. And English slavery, gentle reader, is a story hardly told in the American theater, and certainly never before in an American musical. In a story about slavery, in which life and death is a constant topic of discussion and dramatic action, America is never mentioned. Religion is touched on, but not so much that the show isn't right for the commercial Broadway theater. It very much is. But is it ready for it?

BWW REVIEWS: AMAZING GRACE's World Premiere in Chicago: Sweet Sounds, Heavy Themes Close to CompletionYou've got a title that at least tells you where the story ends up, and a subject that is difficult to watch. Yet it is presented in a fresh, new, historical and non-pious context. Add to the mix two exciting, rising Broadway stars, some experienced veteran performers and a cast that numbers 34 in all. Add exquisite and sexy costumes by Toni-Leslie James, sumptuous lighting by Ken Billington and Paul Miller, and a set credited to Eugene Lee and Edward Pierce that somehow takes us from a rich English seaside town to African and Caribbean beaches via many sequences on a ship, and the audience is willingly along for the ride. The music and lyrics are serviceable or far better than that, with a surprisingly diverse musical palette under consideration. And be sure to start off the show with Josh Young in high, contemporary Broadway full throttle. So far, so good!

Young, a Tony nominee as Judas in "Jesus Christ Superstar" and a 2013 BroadwayWorld Chicago Award nominee as Che in "Evita," gets to step up from faux-narrator to leading man in this production, and gets the show off to an incredible start, unleashing his trademarked voice on the song, "Truly Alive," reminiscent of Douglas Sills and the whole male ensemble in "The Scarlet Pimpernel" in its drive and verve. Young seems rarely offstage in this show, and for someone known as a singer he acts up a storm. This is star-making work from young Mr. Young. And though his first entrance didn't garner the applause it was intended to on Sunday night, I have a feeling it will, quite soon.

Given the rumors about his getting knocked in the head by a set-piece and missing some performances last week, he seemed in perfect health. And it's a highly physical role (gunfights, fistfights, beatings, dancing, falling overboard, all sort of shirts coming on and off). It's a very emotional one as well (arguments with this father, watching his childhood sweetheart romanced by a lout of an aristocrat, realizing that one's servant is actually an African tribesman that one knows literally nothing about, etc.). Young throws himself into this role like he's the luckiest youngster to ever get a promotion, and the one most deserving of a major shot at fame. He sinks his teeth into the depth and breadth of a lusty man who even in his youth was likely more complex that we will ever know.

As Mary Catlett, Newton's young love (and the course of that love never did run smooth), Erin Mackey's acting was, to me, even more impressive than her considerable vocal talents. A pop soprano in an age when that is never a given, she sings sweetly on the interpolated "Rule Brittania" and on Smith's songs for her, "Tell My Why" and "I Still Believe." But as a young woman of means, coming to realize she loathes slavery and may be in a position to do something about it, Mackey has bite and gumption beyond her character's years. Though she is one of the few characters here who is never in actual physical danger, her possible loss of station is palpable enough. Standing up to the Prince of Wales is tough!

As John's father, Captain Newton, Tony nominee Tom Hewitt snarls and snaps his way through act one, only to have a change of heart toward his son at the top of act two that (no fault of the actor's) seemed somewhat unmotivated and unbelievable. Perhaps a few lines in the first act that hint at his forgiving nature would help this transition seem more plausible. And Tony Award winner Chuck Cooper, as the Newton family's house slave, is remarkably strong here, bringing gravitas, wit, pointed commentary and strong presence to a role that gave me my strongest reaction to a book scene of the entire evening.

In the role of Mary's Nanna, Laiona Michelle provided her young charge with a strong moral compass, and sang her brief and tormented song, "Daybreak," like a more mature Heather Headley might someday wish to do. As a whip-cracking and sexy princess of Sierra Leone, Harriet D. Foy was having more fun in a good way than one should have in so serious a milieu. The veteran Chris Hoch and the young Stanley Bahorek were less distinguished, perhaps, but in fairly thankless roles as a period slimeball and a responsible seaman, respectively.

The Tony winner Christopher Gatelli provides choreography for this production that runs the gamut from staid social dances of English society in the age of Handel to African tribal dances, both impressive, if slight diversions from the plot. The large ensemble handled the work with considerable aplomb. Speaking of the plot, the show for the most part had me involved, balancing father-son conflict, love triangle intrigue, class conflict, abolitionist plotting, high seas adventure, tortured memories, culture clashes, Christianity versus atheism, and crises of the soul pretty darn well, actually. There were perhaps a few longeurs in the first act, but nothing major.

However, the end of the show still needs a bit of work, I think. Even though the show does a very good dance around the idea of not seeming too religious for Broadway, and a rabbi is one of the abolitionists, there has got to be a moment of connection with the Christian God, I think, and that connection was a little bit vague. John Newton's turning point in life, asking for God's mercy as his ship was foundering in a storm, seemed less important than many other events which transpired, even though it should be the whole point, shouldn't it? Nor was it clearly explained, retold or rethought. A happy song ("Testimony") ensued, and then Newton proceeded to make amends to those he has wronged. Years later, he wrote a hymn text. And then the cast assembled to sing it for us. Okay. They're winding it up. I get it.

As written by Newton, "Amazing Grace" had five verses, but I think the cast only sang four of them, followed by a verse that he in fact did not write ("When we've been there ten thousand years," etc.). Well, okay, I can imagine audience focus groups complaining if that verse didn't appear. I can also put aside the fact that Newton didn't write the tune ("New Britain") that is universally joined to this lyric, nor did he probably ever hear that tune at all. (I get it, we need dramatic license.) But I wanted to know just a little bit more about Newton actually writing the words, not just be presented via interpolated song with the contrast between human trafficking and feeling saved, redeemed, sanctified or "found."

The show is almost there, but not quite. I see that the song is about his life. But why did he put pen to paper? When was slavery outlawed in England? And did the show mention that Newton eventually became a clergyman in the Church of England? I think it did not.

But for the first eighty percent of the show, this production and the writing that it embodies had me in pretty good spirits. Director Gabriel Barre and music director Joseph Church, guided to no small degree by the willingness of producer Carolyn Rossi Copeland to give Smith's musico-dramatic vision a chance to live, have crafted a complex and moving piece of theater, with thrilling musical moments, stunning visual imagery and roles that actors would give their eyeteeth to sink their molars into. Passion here takes the form of the struggle to live, to love, to be free, to live in peace in community. These are universal themes, and John Newton's story lends itself well to this passion and these themes.

If there are a few dramatic points left to be made, and perhaps a few bumps in continuity or motivation to be identified, those are minor compared to the achievement on stage for a short while longer on Monroe Street in Chicago's Loop. Come watch two young actors become stars, and hear exciting music that carves its own niche even while it's reminiscent of Schonberg, Wildhorn or Flaherty. Learn about an entire topic of world history that is never really discussed. Witness some stunning action sequences and some eye-popping visuals. And see how one man's search for success amongst the worst kind of chaos led him instead to stability, goodness and love. I enjoyed AMAZING GRACE. Both my religious self and my Broadway self enjoyed it very much. That's a pretty neat trick, actually. Now, to connect the dots near the end. Connect!

[dreaming]

Posted: 10/20/14 at 3:45pm

Did the Times review this or weren't they invited?

[bwaybby]

Posted: 10/20/14 at 4:30pm

these are the only reviews I could find.

https://www.aroundthetownchicago.com/theatre-reviews/amazing-grace/

https://www.broadwayworld.com/article/BWW-REVIEWS-AMAZING-GRACEs-World-Premiere-in-Chicago-Sweet-Sounds-Heavy-Themes-Close-to-Completion-20141020

https://www.timeout.com/chicago/theater/amazing-grace

https://entertainment.suntimes.com/stage/new-musical-amazing-grace-sings-sin-redemption/

https://variety.com/2014/legit/reviews/pre-broadway-review-amazing-grace-musical-chicago-1201334531/

https://thefourthwalsh.com/2014/10/review-amazing-grace-broadway-in-chicago-inspirational-powerhouse/

https://www.talkinbroadway.com/regional/chicago/ch465.html

I saw the show in one of its final previews (I saw the one where Josh got hit by a set piece actually, as reported byt the bww reviewer) and I thought it was absolutely inspiring. But reading these reviews I see what some of the reviewers are saying. I wonder if the powers that be will listen to some of the suggestions and tweek the show?

[GilmoreGirlO2]

Posted: 10/20/14 at 4:45pm

Here is Chris Jones’ review (he gave it 2 out of 4 stars, which is what I was expecting from him). I agree with nearly all of it:

http://www.chicagotribune.com/entertainment/theater/reviews/ct-amazing-grace-review-column.html#page=2

One main thing I have been reading (and felt myself) in most critical and fan reviews is the upset at not seeing John Newton actually sit down and write the song. If this musical goes further, I can’t imagine them not adding a scene that shows that.

[neonlightsxo]

Posted: 10/20/14 at 4:46pm

I can't imagine this show doing well in NYC, judging only by Chris Jones' review.

[GilmoreGirlO2]

Posted: 10/20/14 at 4:49pm

Truthfully, me either. I saw the first preview, so it’s possible that things were changed in the week and a half from then until opening, but, from the reviews, it sounds like most of the issues I had with it are still in place. I am quite surprised that it got as good notices as it did.

[bwaybby]

Posted: 10/20/14 at 4:52pm

I agree gilmore girl. And I agree with lots that the Tribune said...BUT still a totally enjoyable night of theater. I'd go again if it were near me. I do hope they take the time and do some of the suggested "fixes"

[bwaybby]

Posted: 10/20/14 at 5:24pm

http://showbizchicago.com/2014/10/20/broadway-bound-amazing-grace-is-the-ultimate-story-of-redemption/

[Mister Matt]

Posted: 10/20/14 at 5:59pm

Is it really the "ultimate story of redemption"? I wonder if it is also a "precipice in history".

[bwaybby]

Posted: 10/20/14 at 8:54pm

Mr. Matt, John Newton's story? Yes it is. Do I think his true story is perfectly realized yet? Perhaps not, but I don't know of any deeper tales of redemption than his. And don't you think the beginning of the end of the african slave trade was a turning point in history?

http://lebontravel-culture.com/american-grace-soars.html

Astonishing, awesome, stupendous, spectacular, thrilling, mesmerizing, extraordinary, exceptional, and incredible! There are not enough adjectives to describe Amazing Grace, the new musical that just opened at the Bank of America Theatre in Chicago before it heads to Broadway.

The show has a highly dramatic story, a stylized historical sweep, and larger-than-life characters that are lovingly realized. It is evocatively rendered with so many right moves that the show towers over the last decade of American musicals. This is as perfect a musical as it gets.

The brainchild of Christopher Smith, the composer, lyricist, and co-writer with Arthur Giron, the production is a stunning but surprising endeavor. Surprising because Smith used to be a policeman and this is his first musical. And what a musical it is!

The show begins with the plaintive, soulful sound of Scottish bagpipes playing “Amazing Grace” as we're introduced to John Newton, a spoiled, irresponsible, bitter, unthinking young man who has no moral compass. He’s a slave trader who considers the practice of selling human beings another form of merchandizing.

While his girlfriend, Mary, believes slavery is evil, Newton differs with her, and he disagrees even more vigorously over her belief in a creator. He tells her that when he was a young man and his mother was sick and dying “I prayed and prayed but your savior wasn’t there because he isn’t there.”

After a painful encounter in Africa with a tribal queen who brands him her slave, Newton is on his way home when his ship is hit with a ferocious whirlwind of a storm. He is so terrified that he begs God for mercy. When the storm abates and he finds that he is still alive, Newton believes he has been given a second chance. He vows to change his ways and do all he can to free slaves. Later, in a tribute to his conversion, he pens the now-famous “I was blind but now I see”.

As John Newton, Josh Young is outstanding. The handsome actor with a delicious and captivating tenor is compelling throughout--especially when he sings Smith’s passionate refrains in “Never,” “Testimony,” “Become a Man,” and “Nothing There to Love,” which he sings in a duet with golden-voiced Erin Mackey, elegant as Mary.

Others in the ensemble who contribute to the breathtaking production include: Chuck Cooper who comes through with a moving portrayal of Thomas, the black slave who raised John; Laiona Michelle, a model of empathy as Nanna; Chris Hoch, who, as Major Archibald Gray, gets to deliver the most humorous dialogue in the production; and Tom Hewitt, who, as John’s father, sings a stirring “A Chance for Me”.

This musical is more serious and intelligent than so many recent frivolous shows that have found their way onto theater stages. Amazing Grace not only has a powerful, poignant, and profound story, but as directed by Gabriel Barre, features dazzling stagecraft.

From beginning to end, the show never falters. It goes from one ravishing scene to another. We’re entranced with the English ball in which women use fans to punctuate their opinions and action; we’re fascinated by the spirited African dance sequence imaginatively choreographed by Christopher Gattelli; and we’re impressed by the ship backdrop designed by Eugene Lee and Edward Pierce,

And then there are the beguiling scenes of sensational boldness in which we see a man falling into the depths of the sea; the moment in which the heavens open up in roaring explosions and flashing streaks of lightning; and the exquisite costumes of three-cornered hats, satin breeches and silk hose for men, and silk and lace ball gowns for the women designed by Toni-Leslie James that bring one right into the fabric of 18th century England.

This is an amazing, lump-in-your-throat, tears-down-your-cheek wondrous production that on opening night had the audience bolting from their seats in cheering, thunderous applause. An inspirational, uplifting show, Amazing Grace is for anyone who believes in second chances and the power of one individual to change his life and to change a nation.

[nanillo17]

Posted: 10/20/14 at 11:35pm

I caught this last night, not even realizing it was opening night until the end, and was severely underwhelmed. I can't say I was disappointed as I had no expectations going in but I will not be recommending this to anyone who wants to see a good show. I remember turning to my friend during intermission and saying that it was "so freaking average" but then the second act didn't help matters much.

One of my main issues with is was that Newton was neither a likeable nor an engaging character. If a main character is not going to be likeable or relateable they should at least be engaging or interesting, Newton just came off as (and likely was) a spoiled brat who "saw the light" after not dying in a storm. I thought the show was very self indulgent in focusing so much on him as the slave "savior" in the end when in fact that was not what happened in real life. It feels very disingenuous and, in a sense, manipulative especially when, as others have mentioned, the slaves in the story did not feel fleshed out in the story.

The whole "you know the song, now learn the story behind its creation" is also a big letdown as it's just glossed over in the end. The majority of the songs were quite unmemorable but I will agree that the title song was done well to close out the show so although I was not giving a standing ovation and cheering like the majority of the theater was, I understand the reaction with that ending.

[Mister Matt]

Posted: 10/21/14 at 1:33pm

Do I think his true story is perfectly realized yet? Perhaps not, but I don't know of any deeper tales of redemption than his.

So do you think the true story is the ultimate redemption story or the book of the musical is the ultimate redemption story? Because they are not the same.

And don't you think the beginning of the end of the african slave trade was a turning point in history?

I think the abolition of slave trading was indeed a turning point in history (certainly not a "precipice", which would make no sense), but the ambiguous "beginning of the end" can be attributed to the works and actions of many, not this one man, and certainly not to the way in which his story was loosely adapted for this musical.

We’re entranced with the English ball in which women use fans to punctuate their opinions and action; we’re fascinated by the spirited African dance sequence imaginatively choreographed by Christopher Gattelli; and we’re impressed by the ship backdrop designed by Eugene Lee and Edward Pierce,

"We"? Whom do you represent?

[lauraehefner]

Posted: 11/8/14 at 1:16pm

Here's a picture of the cast list if anybody's interested. I didn't see it myself, but my mom saw it with my brother on a class field trip last week and got me an extra program. This is the first Playbill that I've ever gotten of an out-of-town tryout, which was super exciting for me. She had similar thoughts to most of the comments made earlier, her biggest issue being that the songs weren't memorable for the most part.

/Users/laurahefner/Pictures/iPhoto Library.photolibrary/Previews/2014/11/08/20141108-121012/dKjIp9LcTmKyQZVQG5wkjA/IMG_0580.jpg

/Users/laurahefner/Pictures/iPhoto Library.photolibrary/Previews/2014/11/08/20141108-121012/bhR%k2+ZQpaINQpDjR+kFA/IMG_0579.jpg

Just realized that these links won't show up. Anybody know how to import iPhoto photos into these messages? This is the first time I've tried to do it.
Updated On: 11/8/14 at 01:16 PM