The city that never sleeps also boasts a theatre scene that never sleeps. With the summer now behind us, this is an overview of all that’s coming to New York stages this fall (spoiler alert: it’s a lot).
All tagged Alex Timbers
REVIEW: “Moulin Rouge! The Musical”—opulent and empty
Director Alex Timbers’ stage adaption of “Moulin Rouge!” is visually and aurally opulent, boasting a lavish production design of the utmost scale and expense; however, the story itself gets short shrift. Emotionally inert between dazzling musical numbers, the whole musical ends up lacking the depth and intensity necessary to properly anchor all its glitz, and is ultimately less rewarding, enjoyable, and theatrical than the 2001 film it takes as its basis.
REVIEW: “Beetlejuice” is a ghoulishly good time
“Beetlejuice”, the last new musical of the 2018-2019 Broadway season, is a ghoulishly good time that pays loving homage to the mythology of the movie while fundamentally reorienting the story and lending it an unexpected punch of pathos amid its crass and crude mania. Gorgeously designed with a Tim Burton aesthetic, and featuring a relentless series of bawdy jokes and entertaining songs, this hyperactive musical comedy might not meet the elevated aesthetic standards of some, but I had a blast.
"Be More Chill" books the Lyceum and "Beetlejuice" books the Winter Garden; "The Band's Visit" recoups; Al Roker will make his Broadway debut in "Waitress"; Hailey Kilgore returns to "Once on This Island"; Andrew Lloyd Webber, Tim Rice, and John Legend EGOT with "Jesus Christ Superstar Live in Concert" Emmy wins; trailer for Gwen Verdon doc "Merely Marvelous"; profile of Cher
Stephanie J. Block to headline "The Cher Show"; Drew Gehling will star in "Dave"; "Beetlejuice" headed to D.C. and "Beaches" to London pre-Broadway; the Griswolds will get a "Vacation" musical; important article about sexual harassment in the theatre community
REVIEW: “Frozen” Disappoints
“Frozen”, the new musical based on Disney’s 2013 box office bonanza animated film, is a disappointing, self-conscious, and abundantly safe two-dimensional stage version of a two-dimensional cartoon, lacking grand gestures of sweeping inspiration or genuine smiles of magic, instead feeling mostly rote and composed by committee. You’re better off letting this one go.