By Cris Franco
Three new shows are glittering examples of evolving genres within the American musical: the adventure musical fueled by advances in real-time robotics; the concert/bio-musical; and the film-to-stage adaptation.
King, Kong, the iconic cinematic allegory on how “beauty killed the beast,” is being brought to roaring life on Broadway through a spellbinding mix of robotics, puppetry, music, and stagecraft. Winner of a Special Tony Honor for puppet design by Sonny Tilders, this 35-million dollar monster hit stars a 20-foot-high, 2,000-pound silverback gorilla whose lifelike face can express a terrifying and heartbreaking range of emotion.
Following the original plot of the 1933 film, we meet the fearless young Ann Darrow (the perfect Christiani Pitts),
Ultimately, Darrow’s charm and beauty lure Kong away from his mysterious island kingdom to another island — Manhattan. But Kong violently escapes his captors and climbs the Empire State Building where he bids farewell to Ann (and life) as, despite her cries to spare him, the mighty King Kong is shot by airplanes and falls to his death. All the action I’ve described, including a fierce and bloody battle between Kong and a giant python snake on Skull Island, is masterfully executed before your very eyes.
Succinctly put: King Kong is Broadway’s first action musical. A thrill ride of a spectacle that heralds a new kind of storytelling. Kong’s voice, facial gestures and body motion are all created live from his control both in the theater, so, like the actors, he is interacting at the moment. Locations and action are created via an enormous LCD screen that seamlessly transports the fast moving scenes from the gritty streets of Depression Era New York, to Kong’s secret lair, to the top of the Empire State building. The music, by Marius de Vries (La La Land) and Eddie Perfect (Beetlejuice The Musical), is smartly incorporated into the plot as Ann is a singer-actor whose sweet singing voice helps tame Kong during their most desperate moments. King Kong is the perfect blend of technology and allegory – rife with possibilities. It’s suitable for young audiences with a profound message about conquest, man’s inhumanity to nature and the power of love. (King Kong photos by Joan Marcus & Matthew Murphy) kingkongbroadway.com
The Cher Show is a thrilling bio-musical/rock concert that recounts the unabashed life and times of the title’s enduring diva. So enduring is this rock goddess’s bombastic career that it takes no less than three very talented women (led by Tony-nominee for Best Actress in a Musical, Stephanie J. Block) to portray Cher through her various phases. She is the little girl teased for her ethnic looks who vows to become famous, Sonny Bono’s subordinate (teen-age!) hippy-wife who turns phenom and crashes by twenty, theglam TV star who quits at the top, the would-be actress with an Oscar, the rock goddess with a hundred million records sold, the legend who’s done it all, still scared to walk on stage and the cult phenomenon looking for love. She is the ultimate survivor, chasing her dream dressed to kill in Bob Mackie‘s Tony-nominated costumes all wrapped in a very unconventional musical entertainment. For just like Cher herself, the show bearing her name also defies categorization.
This thrilling
The Cher Show is a joyous theatrical event that celebrates anyone who’s ever had a dream or dared to be different. (The Cher Show photos by Joan Marcus) thechershowbroadway.com
Pretty Woman is part of the new genre of romcom-musicals based on films soon headed to Broadway, which include: Mrs. Doubtfire, The Devil Wears Prada, Moulin Rouge, Beaches, The Bodyguard, Bull Durham and Some Like It Hot. Let’s hope they’re all as romantic and entertaining as Pretty Woman. This gritty and hopeful tuner, based on the iconic 1990 film, follows the original screenplay (directed by the late Gary Marshall), but with a contemporary feminist agenda. This is a miracle in itself. I mean, who would believe that Cinderella worked Hollywood Boulevard as a conscientious hooker with aspirations of finding her prince and leaving behind her life of ill repute? After all, she insists she sells her body, not her soul and she doesn’t kiss on the lips. Stands to reason, no?
Actually, it does, at least to this reviewer, and in no small part because of Samantha Barks (Vivian) and Andy Karl (Edward) who make us believe in their unlikely romance. Bolstering the cast is the delightfully sarcastic Orfeh as Kit and the mighty morphing Brian Cali as both a smarmy street-hustler and stuffy hotel manager. A hilarious Tommy Bracco, the bellhop Guilio, provides physical comedy and shows off some fancy footwork. Supporting cast members Nico De Jesus, Renee Marino, Ellyn Marie Marsh and Jennifer Sanchez play everything from streetwalkers to snooty sales associates.
Jerry Mitchel (Kinky Boots) provides slick direction and the energetic Latin, jazz and ballroom choreography. A bouncy 80’s pop-rock score gives us upbeat ensemble numbers (“Welcome to Hollywood”) and insightful solos (“I Can’t Go Back”) that define the character and briskly move along the plot. Faithful to the screenplay, all your favorite scenes are here: the couples’ flirtatious meeting, the fashion make-over and the highlight of the musical, their night at the opera. Costume designer Gregg Barnes dutifully delivers that gorgeous red gown that fans will remember. In this scene, Pretty Woman The Musical outperforms the film. Underscored by a dreamlike aria from La Traviata, the moment when two souls realize they’re a couple is beautifully portrayed.
In this day and age of the “#MeToo” movement, you might think that Pretty Woman would hit a feminist nerve now and then. However, Vivian has the upper hand this time around. It is clearly her show. She’s the savior of this misguided, emotionally-troubled, corporate-raiding prince. She’s the catalyst that brings to life both their dreams. Yes, he saves her, but she saves him “right back.” Standing center stage, this Pretty Woman didn’t leave me missing Roy Orbison’s hit song one bit. (Pretty Woman photos by Matthew Murphy)
