And so, dear friends, today is April 28, marking the final day of Tony Award eligibility, and the opening night performance of Roundabout's THE PEOPLE IN THE PICTURE!
I really enjoyed this musical, but can definitely see areas where people might have problems with it. I really hope it gets raves...so we aren't left with a season that only produces 3 unanimous critical darlings.
Donna Murphy will get favorable reviews, the show will be both liked and disliked enough, and it'll find some very friendly pull-quotes to use.
"The Spectacle has, indeed, an emotional attraction of its own, but, of all the parts, it is the least artistic, and connected least with the art of poetry. For the power of Tragedy, we may be sure, is felt even apart from representation and actors. Besides, the production of spectacular effects depends more on the art of the stage machinist than on that of the poet."
--Aristotle
I'm curious to see the kind of reviews this will get. I personally found it really disappointing...I thought Murphy was very good and the physical transformations she was doing were truly remarkable, but other than that the show didn't leave much of an impression. It's a shame, I thought some of the music was really lovely and the concept had so much potential to be interesting and touching, but instead it was just a melodramatic and contrived show. I'll admit I got a little choked up at the ending, but there was no real emotional buildup and it felt incredibly forced.
I'm writing a show called BABY, IT'S WONDERLAND IN THE PICTURE. It's about Alice Rosenthal, a 60's record producer who travels to Wonderland to find a Yiddish singing group for record label only to realize she didn't need to leave home at all. She just had to go to her temple to find Jews.
I'm surprised the title for this show doesn't somehow incorporate "Baby, It's Jew!". Meanwhile, I'd probably see this, and it might even be better than all three of the other shows...
"Art, in itself, is an attempt to bring order out of chaos."-Stephen Sondheim
Completely dismissive of the show, but respectful of Murphy:
As it is, even Ms. Murphy (who also gets to portray the various characters that Raisel plays onstage and on screen) has trouble generating the kind of energy that makes an audience sit up and smile, or sit up, period.
Brantley pretty much summed up how I felt about the show...Murphy and the rest of the cast did their best with what they were given, which wasn't much.
I feel like one of the few who loved it. Maybe it's my personal relation to the material, but I haven't cried that much at a show since Next to Normal.
The ambition in “The People in the Picture” is admirable, but the complexity and sprawl seem more appropriate for a novel (Perhaps not coincidentally, Iris Rainer Dart is primarily a novelist; one of her novels, “Beaches,” was made into a Bette Midler movie.) The art of mixing tragedy and comedy is a delicate one for any theatrical enterprise, and Dart, who was also a writer for such TV Variety fare as “The Sonny and Cher Show,” veers into too-familiar schmaltz and shtick.
AP is mixed overall. Loved Murphy, didn't the book and most of the lyrics.
A hammy quality continues to sneak into the script — enough with "plotz" and "toochas," oy vey! — and an overly sentimental vision overtakes the plot. The songs, rooted in Eastern European melodies, are delicate things but they often fail to stick in one's head. Too many are fragmentary, like mere outlines of unfinished songs. Donna Murphy Shines in 'The People in the Picture'
Variety is mostly negative, though they give credit to Murphy for trying.
The 2010-2011 Broadway season wisps to a close with "The People in the Picture." Holocaust-themed song-and-dancer is a thoroughly earnest endeavor, but earnestness doesn't necessarily ensure entertainment. Donna Murphy works extra hard as a glamorous Polish actress-turned-doddering Jewish grandmother, but to little avail. The People in the Picture