#76
Posted: 4/30/05 at 11:09am
I'll be brief. I wasn't expecting much from Chitty, but I fully realized their target audience and went with an open mind.
Let's get something straight right now: It's been quite a while since a family-oriented extraganza has been presented on Broadway. Disney hasn't put anything new out there for a while and Little Women, which hoped to exploit that void, is old-fashioned and dull and doesn't cut it.
Howard Kissel and other critics may be too stupid or elitist to understand it was only a matter of time before a show of this nature came to The Street, but they should be greatful that Chitty is as good as it is and that the considerable money spent on it is all on stage to see. This is not a cheap production, which is more than I can say for some shows--especially recent revivals.
I hadn't watched the film in, probably, three decades. I meant to view it before I saw the show, but never got around to it. So I wasn't totally recalling the entire plot. Perhaps it helps to see the show without knowing exactly what's coming up next.
I was glad they integrated the Vulgaria storyline into the work as a whole, instead of treating it as the extended fantasy sequence which it was in the film. Giving a somewhat dark edge to the Baron and Baroness instead of making them the total buffoons they are in the picture was a good move, although I'd love to know who dreamed up the ridiculous "Bombie Samba," which was totally out of place in the show. The Childcatcher's ominous presence was also a big help, as opposed to the image of an undertaker he had in the movie. You almost can't take your eyes off him when he's on stage. Brantley was absolutely correct bringing up Nosferatu.
Raul Esparza was hardly Mr. Charisma out there. His low-key approach--if that's what it was--made the work more of an ensemble piece rather than it being a star turn for him. I don't know if that was a choice or if Esparza simply couldn't dominate when he was out there. Some critics felt he was miscast.
The set design was terrific and the car's "flying" was perfectly fine. It's not a great score by any stretch of the imagination, but the orchestra was full and made the music sound as well as can be expected.
It won't be everybody's cup of tea, but there's room for this kind of thing on Broadway and bashing it is unfair and arrogant. By the way, the audience participation (such as singing or clapping along with the title tune, etc.) was mercifully restrained at the performance I attended.
Let's get something straight right now: It's been quite a while since a family-oriented extraganza has been presented on Broadway. Disney hasn't put anything new out there for a while and Little Women, which hoped to exploit that void, is old-fashioned and dull and doesn't cut it.
Howard Kissel and other critics may be too stupid or elitist to understand it was only a matter of time before a show of this nature came to The Street, but they should be greatful that Chitty is as good as it is and that the considerable money spent on it is all on stage to see. This is not a cheap production, which is more than I can say for some shows--especially recent revivals.
I hadn't watched the film in, probably, three decades. I meant to view it before I saw the show, but never got around to it. So I wasn't totally recalling the entire plot. Perhaps it helps to see the show without knowing exactly what's coming up next.
I was glad they integrated the Vulgaria storyline into the work as a whole, instead of treating it as the extended fantasy sequence which it was in the film. Giving a somewhat dark edge to the Baron and Baroness instead of making them the total buffoons they are in the picture was a good move, although I'd love to know who dreamed up the ridiculous "Bombie Samba," which was totally out of place in the show. The Childcatcher's ominous presence was also a big help, as opposed to the image of an undertaker he had in the movie. You almost can't take your eyes off him when he's on stage. Brantley was absolutely correct bringing up Nosferatu.
Raul Esparza was hardly Mr. Charisma out there. His low-key approach--if that's what it was--made the work more of an ensemble piece rather than it being a star turn for him. I don't know if that was a choice or if Esparza simply couldn't dominate when he was out there. Some critics felt he was miscast.
The set design was terrific and the car's "flying" was perfectly fine. It's not a great score by any stretch of the imagination, but the orchestra was full and made the music sound as well as can be expected.
It won't be everybody's cup of tea, but there's room for this kind of thing on Broadway and bashing it is unfair and arrogant. By the way, the audience participation (such as singing or clapping along with the title tune, etc.) was mercifully restrained at the performance I attended.
Updated On: 4/30/05 at 11:09 AM
i know i know....i just want them to be nominated just to see it again....
