#1
Posted: 1/30/05 at 4:01pm
GOOD VIBRATIONS Review
First up this season was Eve Ensler’s one woman show, “The ‘Good’ Body”; a show who’s limited run was even more limited than expected because it quickly was dubbed “The ‘Bad’ Body.” Now Broadway is said to have “‘Good’ Vibrations” in the form of the new Beach-Boy musical set to open at the beautiful Eugene O’Neil Theatre. And when the grandeur of the theatre is one of the only positive things that can be said about a show; that production is indeed a flop of the catastrophic kind. Unfortunately, these ‘Vibrations’ are so far from ‘Good,’ that ‘bad’ doesn’t even begin to describe the non-existent sensations one feels during the two hours inside the O’Neil. Most successful musicals offer a verbosely entertaining story, thought provoking and moving music, a creative design that enhances the production, and a cast who is better than amusement park entertainment; regrettably “Good Vibrations” has none of the abovementioned qualities and instead is a colossal embarrassment for everyone involved.
Director and Choreographer John Carraffa ( “Urinetown” & “Dance of the Vampires”) was so far in over his head that he brought in New York director David Warren just two weeks prior to what was supposed to be the show’s opening to play doctor to the ailing show. Warren would have to a miracle worker to fix everything that is wrong with “Good Vibrations.” Instead of a quick fix, a complete scrapping and overhaul is truly what this show is in desperate need of.
From the opening number, one can see that the show is already in trouble. After making everyone lose their breakfast on Thanksgiving morning during the ensembles poorly sung and laughably choreographed “Fun, Fun, Fun” at the Macy’s Parade, it is evident that not a thing has been done to improve what is supposed to be the productions first showstopper. The dancing waves and bikini girl are still there in all of their obnoxious glory, and leading man David Larsen’s pretty boy image is ruined by more than one missed note.
Missed opportunities abound all over the place in “Good Vibrations” and that was obviously recognized by stars of this show who have already jumped ship. American Idol runner-up Justin Guarini left the cast much earlier in its out of town tryouts and ensemble member Chad Kimball isn’t even going to make it to opening night before he guns off to start rehearsals for the new “Lennon” musical. Who could really blame them? After all the majority of the cast looks like they have never taken an acting lesson in their life and were only hired because of their pretty faces and semi-decent bodies. And poor guidance and direction leave the post-pubescent cast to fend for themselves one too many times.
Even though leading lady Kate Reinders, late of “Gypsy” fame, proves to be the cast’s strongest asset, (after all sharing a stage with Bernadette Peters has to have taught her something) her genuine characterizations and beautiful voice don’t even come close to salvaging her fledging cast mates. During “Help Me, Rhonda” in Act II, the poor group look like they need more than just help from Rhonda, but instead some sort of divine intervention.
Other notable disastrous moments come when Larsens’ Bobby, Reinders’ Caroline and two other high school friends start their cross country trip to the beaches of California. Four chairs are brought on stage and behind them a movie screen with moving images to give the “road trip” feel! And all the time the audience begins to wonder, “is this really a Broadway show or a college show choir concert?” The Ugg Boots running around the sunny beaches of LA certainly don’t help costumer Jess Goldstein’s vision much either. And speaking of visions, scenic designer Heidi Ettinger’s over-bloated sets certainly fill the large O’Neil stage, but with more duct tape than Linda Tripp.
And just when the audience thinks they have seen it all, (be thankful I didn’t go into detail about the homo fearing best friend turned surfer boy queer – Don’t Ask!) nothing can quite prepare for the Beach Boy’s Mega Mix post-curtain call disaster filled with step touches and…red and white beach balls of all shapes and sizes being bounced around the O’Neil theatre that read “Good Vibrations.” After sitting through one of the most unentertaining evenings of theatre going existence, the reward is getting pummeled in the head by a spherical object while the cast gives one last ditch effort to try to make the audience sing along.
The last time I checked the O’Neil was still a Broadway theatre, not a mosh-pit or downtown gay piano sing-a-long bar. However, with the arrival of “Good Vibrations” that may change; highly unlikely, but ever so slightly possible. With the slow start to this season’s new musicals, one begins to wonder if we are truly witnessing the death of the American Musical Theatre. But fear not my friends with five out of ten new musicals still set to open in the spring of ’05, things can only get better and hopefully prove that the Broadway Musical isn’t dead after all, but in the case of “Good Vibrations” in the throngs of a deep anemic comma.
First up this season was Eve Ensler’s one woman show, “The ‘Good’ Body”; a show who’s limited run was even more limited than expected because it quickly was dubbed “The ‘Bad’ Body.” Now Broadway is said to have “‘Good’ Vibrations” in the form of the new Beach-Boy musical set to open at the beautiful Eugene O’Neil Theatre. And when the grandeur of the theatre is one of the only positive things that can be said about a show; that production is indeed a flop of the catastrophic kind. Unfortunately, these ‘Vibrations’ are so far from ‘Good,’ that ‘bad’ doesn’t even begin to describe the non-existent sensations one feels during the two hours inside the O’Neil. Most successful musicals offer a verbosely entertaining story, thought provoking and moving music, a creative design that enhances the production, and a cast who is better than amusement park entertainment; regrettably “Good Vibrations” has none of the abovementioned qualities and instead is a colossal embarrassment for everyone involved.
Director and Choreographer John Carraffa ( “Urinetown” & “Dance of the Vampires”) was so far in over his head that he brought in New York director David Warren just two weeks prior to what was supposed to be the show’s opening to play doctor to the ailing show. Warren would have to a miracle worker to fix everything that is wrong with “Good Vibrations.” Instead of a quick fix, a complete scrapping and overhaul is truly what this show is in desperate need of.
From the opening number, one can see that the show is already in trouble. After making everyone lose their breakfast on Thanksgiving morning during the ensembles poorly sung and laughably choreographed “Fun, Fun, Fun” at the Macy’s Parade, it is evident that not a thing has been done to improve what is supposed to be the productions first showstopper. The dancing waves and bikini girl are still there in all of their obnoxious glory, and leading man David Larsen’s pretty boy image is ruined by more than one missed note.
Missed opportunities abound all over the place in “Good Vibrations” and that was obviously recognized by stars of this show who have already jumped ship. American Idol runner-up Justin Guarini left the cast much earlier in its out of town tryouts and ensemble member Chad Kimball isn’t even going to make it to opening night before he guns off to start rehearsals for the new “Lennon” musical. Who could really blame them? After all the majority of the cast looks like they have never taken an acting lesson in their life and were only hired because of their pretty faces and semi-decent bodies. And poor guidance and direction leave the post-pubescent cast to fend for themselves one too many times.
Even though leading lady Kate Reinders, late of “Gypsy” fame, proves to be the cast’s strongest asset, (after all sharing a stage with Bernadette Peters has to have taught her something) her genuine characterizations and beautiful voice don’t even come close to salvaging her fledging cast mates. During “Help Me, Rhonda” in Act II, the poor group look like they need more than just help from Rhonda, but instead some sort of divine intervention.
Other notable disastrous moments come when Larsens’ Bobby, Reinders’ Caroline and two other high school friends start their cross country trip to the beaches of California. Four chairs are brought on stage and behind them a movie screen with moving images to give the “road trip” feel! And all the time the audience begins to wonder, “is this really a Broadway show or a college show choir concert?” The Ugg Boots running around the sunny beaches of LA certainly don’t help costumer Jess Goldstein’s vision much either. And speaking of visions, scenic designer Heidi Ettinger’s over-bloated sets certainly fill the large O’Neil stage, but with more duct tape than Linda Tripp.
And just when the audience thinks they have seen it all, (be thankful I didn’t go into detail about the homo fearing best friend turned surfer boy queer – Don’t Ask!) nothing can quite prepare for the Beach Boy’s Mega Mix post-curtain call disaster filled with step touches and…red and white beach balls of all shapes and sizes being bounced around the O’Neil theatre that read “Good Vibrations.” After sitting through one of the most unentertaining evenings of theatre going existence, the reward is getting pummeled in the head by a spherical object while the cast gives one last ditch effort to try to make the audience sing along.
The last time I checked the O’Neil was still a Broadway theatre, not a mosh-pit or downtown gay piano sing-a-long bar. However, with the arrival of “Good Vibrations” that may change; highly unlikely, but ever so slightly possible. With the slow start to this season’s new musicals, one begins to wonder if we are truly witnessing the death of the American Musical Theatre. But fear not my friends with five out of ten new musicals still set to open in the spring of ’05, things can only get better and hopefully prove that the Broadway Musical isn’t dead after all, but in the case of “Good Vibrations” in the throngs of a deep anemic comma.
