#1
Posted: 4/2/06 at 12:50am
This review is dedicated to WAT, because if I never had met him, and subsequently saw this show on his behalf, I would have walked out during the first act.
Before I start my main review, I'd like to give a big "hats off" to the talented corp of dancers, who poured their hearts and souls into every number they were in.
I will apologize if this review seems scattered, but I have so many things running through my head as I type this.
I don't know exactly how to categorize Hot Feet (otherwise known as WTF). It's not necessarily a "juke box" musical because the cast on stage, for the most part, does not sing. I personally don't feel that the music tied any type of story together, and the story (with a few exceptions), was not really told through the choreography. It was kind of like, "42nd Street", "Stayin' Alive", "Damn Yankees" and "Fame" all rolled up into one big mess!
The main character's name is Kalimba. How ironic since "Kalimba Entertainment" is partly responsible for the fiasco I saw on stage tonight. To quote part of the bio in the Playbill, "Its purpose is to create, develop and execute brand strategy for the trademark Earth, Wind and Fire..." Um, ok. What's up with that?
Maurice Hines - I realize that show business is his life, and he has done some amazing things in his career, but to be quoted as "creative genius" (I kid you not) in his bio is a bit much. I was fortunate enough to see him in the Broadway productions of both "Eubie!" and "Sophisticated Ladies" (replaced his brother, the late, Gregory Hines).
What did I like about Hot Feet? To me, the choreography is the one thing the show has going for it (though there were way too many pelvic thrusts and gyrations throughout). The audition sequence early on in Act 1 was both energetic and exciting, and probably my favorite number in the entire show.
Performances: Michael Balderamma, quite the hottie and excellent dancer (also loved his hair). Standouts in the ensemble include Duane Lee Holland (edited in) and Matthew Kiernan (one of the swings). I also have to mention the little girl who played the role of Emma (Samantha Pollino [understudy]). What a dancer, especially since she's so young. Throughout the evening, I kept wishing I had the kind of rhythm and extension any of the dancers in this show displayed.
I'd get into the inane plot, but I won't, because it's just not worth it.
The book scenes were absolutely horrendous. I've heard better dialogue, line readings and acting in porn.
The Playbill said that the time period was the present, but it was difficult to tell from some of the costumes that were being worn. It's also unfortunate that the costumes worn in the opening number appeared baggy and cumbersome and took away from the body line of the dancers.
The role of Kalimba was played by the understudy, Dionne Figgins. She was fine, but not very convincing as a 17 year old.
About three-quarters of the way through Act One, an announcement came over the PA system saying that the show would have to be stopped for 10 minutes. At first, everyone in the audience thought that this was part of the "show within a show", but we soon realized that it wasn't. When the show resumed, an announcement was made saying that the actress playing Naomi had been injured backstage and that her understudy would be playing the remainder of the show. It was obvious that this was the first time that Nakia Henry was going on. I give her credit for the job she did, being thrown in like that. It was also nice to see her fellow castmates applaud her during her bow.
What is with the trend in some current shows to use projections as their set? The projections used in the "Getaway" number in Act 2 looked like a glorified PowerPoint presentation.
Allen Hidalgo's (Louie) annunciation was abysmal. His number at the beginning of Act 2 was unintelligible. It didn't even sound like english to me.
Again, the dancer's were amazing, and I wish they were given better material to work with. I just kept thinking throughout the entire evening, what can be done to fix this. Not much. First, cut some of the book scenes (they were that bad). Hot Feet is in dire need of a complete overhaul. In my opinion, this show should not be brought to Broadway in its present state. That being said, will it move onto New York? Most likely, as it looks like someone is willing (and has the money)to keep the show going. Will it do well there? Probably not.
To quote Kalimba's mother at the end of the show, "Why, why, whyyyyyyyyyyyyyyy?"
Before I start my main review, I'd like to give a big "hats off" to the talented corp of dancers, who poured their hearts and souls into every number they were in.
I will apologize if this review seems scattered, but I have so many things running through my head as I type this.
I don't know exactly how to categorize Hot Feet (otherwise known as WTF). It's not necessarily a "juke box" musical because the cast on stage, for the most part, does not sing. I personally don't feel that the music tied any type of story together, and the story (with a few exceptions), was not really told through the choreography. It was kind of like, "42nd Street", "Stayin' Alive", "Damn Yankees" and "Fame" all rolled up into one big mess!
The main character's name is Kalimba. How ironic since "Kalimba Entertainment" is partly responsible for the fiasco I saw on stage tonight. To quote part of the bio in the Playbill, "Its purpose is to create, develop and execute brand strategy for the trademark Earth, Wind and Fire..." Um, ok. What's up with that?
Maurice Hines - I realize that show business is his life, and he has done some amazing things in his career, but to be quoted as "creative genius" (I kid you not) in his bio is a bit much. I was fortunate enough to see him in the Broadway productions of both "Eubie!" and "Sophisticated Ladies" (replaced his brother, the late, Gregory Hines).
What did I like about Hot Feet? To me, the choreography is the one thing the show has going for it (though there were way too many pelvic thrusts and gyrations throughout). The audition sequence early on in Act 1 was both energetic and exciting, and probably my favorite number in the entire show.
Performances: Michael Balderamma, quite the hottie and excellent dancer (also loved his hair). Standouts in the ensemble include Duane Lee Holland (edited in) and Matthew Kiernan (one of the swings). I also have to mention the little girl who played the role of Emma (Samantha Pollino [understudy]). What a dancer, especially since she's so young. Throughout the evening, I kept wishing I had the kind of rhythm and extension any of the dancers in this show displayed.
I'd get into the inane plot, but I won't, because it's just not worth it.
The book scenes were absolutely horrendous. I've heard better dialogue, line readings and acting in porn.
The Playbill said that the time period was the present, but it was difficult to tell from some of the costumes that were being worn. It's also unfortunate that the costumes worn in the opening number appeared baggy and cumbersome and took away from the body line of the dancers.
The role of Kalimba was played by the understudy, Dionne Figgins. She was fine, but not very convincing as a 17 year old.
About three-quarters of the way through Act One, an announcement came over the PA system saying that the show would have to be stopped for 10 minutes. At first, everyone in the audience thought that this was part of the "show within a show", but we soon realized that it wasn't. When the show resumed, an announcement was made saying that the actress playing Naomi had been injured backstage and that her understudy would be playing the remainder of the show. It was obvious that this was the first time that Nakia Henry was going on. I give her credit for the job she did, being thrown in like that. It was also nice to see her fellow castmates applaud her during her bow.
What is with the trend in some current shows to use projections as their set? The projections used in the "Getaway" number in Act 2 looked like a glorified PowerPoint presentation.
Allen Hidalgo's (Louie) annunciation was abysmal. His number at the beginning of Act 2 was unintelligible. It didn't even sound like english to me.
Again, the dancer's were amazing, and I wish they were given better material to work with. I just kept thinking throughout the entire evening, what can be done to fix this. Not much. First, cut some of the book scenes (they were that bad). Hot Feet is in dire need of a complete overhaul. In my opinion, this show should not be brought to Broadway in its present state. That being said, will it move onto New York? Most likely, as it looks like someone is willing (and has the money)to keep the show going. Will it do well there? Probably not.
To quote Kalimba's mother at the end of the show, "Why, why, whyyyyyyyyyyyyyyy?"
Hey Dottie!
Did your colleagues enjoy the cake even though your cat decided to sit on it? ~GuyfromGermany
Updated On: 4/2/06 at 12:50 AM
