I don't know if I'll be able to leak any more of the reviews yet lol, as I have to head over to Dangerous Liasons tonight. I don't think Brantley is going to give it a good one, b/c great glowing reviews usually get leaked to press agents, whereas to not ruin an opening night party, stinky reviews usually aren't leaked till after midnight.
These reviews pretty much go along with my opinions of the show. It is just a big loud dumb fun time! It doesn't try to pass itself off as ground-breaking sophistocated theater. So if you are looking for something silly and entertaining, this show delievers.
"But I can tell you that Raoul, who was so handsome in "The Phantom," is now a drunken wreck."
I'm still confused as to why there is no link - there might be more to those reviews. Where did they come from (not the source, but how did s/he get them without being able to provide the link)?
Listen, I don't take my clothes off for anyone, even if it is "artistic". - JANICE
Blaxx....I get the impression that MenzelManiac works in the publicists office for the show and they will sometimes recieve the reviews early (no link involved)
But in spite of its rude sentiment, sharp lyrics and technicolor costuming, "Cry-Baby" remains an undercooked, irritating spoof. It suffers from second-rate direction, forgettable songs, and a terrible book that overflows with exposition
Regardless, a second Valentine to Baltimore has opened while another is still going strong and grinning brightly nearly six years after opening. The first, playing at the Neil Simon, is called Hairspray, and is based on the 1988 John Waters film of the same name. The new one, Cry-Baby, just opened at the Marquis and is based on a Waters film from 1990. But the Baltimore and social changes it documents make for a much less merry land this time around ----------------------------------- In all good musical comedies - to say nothing of Waters's movies - clinging to the old ways is the surest route to obsolescence. On the most basic of terms, Cry-Baby succeeds as a fleeting amusement, even if it lags behind Xanadu and In the Heights, two other new musicals this season that aim slightly higher and hit more accurately. True, Cry-Baby isn't trying to be like them, and just as well. But one can't help but wonder why it doesn't also dare to stray farther from the buzz of Hairspray's beehive.
There's a lot of talent, sass and sweat onstage, particularly in the dance department, plus a sprinkling of wit in the show's good-natured vulgarity. But somehow, it never quite ignites.
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It's no shock that Waters (and, in turn, O'Donnell and Meehan) should steer our sympathies toward the stigmatized lowlifes while exposing the white-bread conservatives as underhanded bullies, bigots and hypocrites. But as a satire on class barriers, the show lacks teeth, and despite parading out '50s accoutrements from an iron lung to a bomb shelter and gas masks, its affection for the era lacks both an insightful point of view and a contemporary echo.
If people only see shows that the critics like...there would only be 3 or 4 shows on Broadway every season. Also, most of the people (I'd say a majority) living on LI read Newsday which is good.