Scaryclowns223 at ROAD SHOW

Alrighty, folks.

I took in Road Show this weekend. Let me start off by saying that I didn't have particularly high expectations, but I did expect the cast and the direction to be at the very least very very good.

Let's start with the music:
Yankee said a couple days ago that there were some songs that were basically cut from ASSASSINS. As a guy who LOVES Assassins, I can confirm that. Some of the melodies in the show were nearly identical to those in "The Ballad of Booth." I also heard a bit of Merrily in there, but only faint traces. That said, I very much enjoyed the music, and thought it was EXCELLENT. Classic Sondheim- lots of singing very fast, lots of overlapping verses, lots of strange rhythmic patterns. I really enjoyed the music- I hope they record this. I can't remember many song titles, but "On My Way" was excellent, as was the song detailing their whole experience in Florida.

The performers were very good. Gemignani's acting was a bit shoddy at times, but that was mostly due to the book (more on that later.) Cerveris was excellent, though at times he drifted into the exact same voice he used for John Wilkes Booth (when coupled with the almost-identical melodies, it was kind of weird.) That said, I really enjoyed Cerveris's performance- super passionate and definitely layered. The rest of the class had very little to do (I was surprised how quickly Alma Cuervo disappeared from the picture), but made a wonderful ensemble. Seeing them sitting on those stacks of furniture made for a wonderful tableau.

Possible Spoilers

Ok- here's the rough part. I found the book to be wildly inconsistent- certain characters and relationships (ie. Bessemer and Addison) were terribly underdeveloped, and I honestly didn't understand why some characters were even there. To be honest, Alma Cuervo's role, as written, just doesn't make sense. I know that her death is a major plot point, but she didn't make the huge impact required to make her that notable or important. Hollis Bessemer is a great character, but I wish he wouldn't have such a limited role. I wanted to see more character development. The first quarter of the show was terribly slow (I honestly was disappointed that nothing genuinely interesting happened in Alaska.) The book picked up as the play moved on, but every scene seemed to stop short. Just when it seemed like some really interesting emotions might come out, the scene would end. And I liked the ending, but I'm not sure I got any closure on these characters. Maybe that was intentional, but the ending seemed a bit unsatisfying (though not nearly as unsatisfying as the first fifteen-twenty minutes of the show.) Certainly some of these plot problems are unfixable (the story may just not be interesting enough), but John Weidman has failed us all here. Its a shame, because I love his work on Assassins, but the book really held this show back. A lot.

End of (possible) spoilers.

Overall, I definitely enjoyed myself, and was glad that I got to see what could be (but hopefully isn't) Stephen Sondheim's last original musical. I think John Doyle did a great job with this show, and the direction redeemed most of the book's flaws. I was genuinely interested and genuinely entertained 80% of the time, but there were parts that just didn't work. I would, however, recommend this, as it is an original and truly innovative production (the money-tossing was inspired, and the set was incredible) by one of our greatest composers ever.

Overall (to steal jay's convention): 7.5/10

So is this an example of an "idea musical" that should have been a "character musical?"

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On My Way and most of the florida segment are on the Bounce CD if you really want recordings

thanks for the review!I don't know anything about John Weidman's non Sondheim work--but I do like his work on both Pacific Overtures and Assassins. But those are both shows that are kinda half revue half story musical--I know originally Bounce was meant to be done in a vaudeville style but it prob is more of a character piece. Maybe he ultimately was a bad fit. (I know he has done character shows but I don't know his work with Maltby and Shire on Big or Take Flight, and only somewhat know Anything Goes which he only revised anyway).

I don't really hear Assassins in there, at least in Bounce, but I admit what disappoints me about the score is it never really gels into a distinct Sondheim voice the way nearly all his other shows/scores do for me--it sounds like a mix of his other past "voices".

I was never a big fan of Weidman.

PACIFIC OVERTURES is a great read, but I haven't seen it staged yet, so I can't really comment.

I'm glad ASSASSINS was trimmed and changed a little for the revival: some of what's in the original book is just kooky ("It's not my fault! My penis made me do it!" at the MOST INAPPROPRIATE TIME EVER).

I'd love to know what Sondheim sees in him.

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I saw "Road Show" last night, and loved it -- it was completely charming. In comparison to Sondheim's great works, the show is a bit slight, but really interesting and enjoyable on its own terms. Simple, but wonderful sets and direction; and the two lead performances were terrific.

But the real pleasure was hearing a classic Sondheim score. Just a joy.

Actually, the original posters for BOUNCE called it "a new musical comedy" but by the time it opened they were simply calling it "A new musical."

I will be in New York next week and hope to see the show then and will post my thoughts compared with BOUNCE.

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