Author: tar2137

Photo Courtesy of Matthew Murphy


Hal Prince has undoubtedly influenced the world of Broadway, inspiring others to pursue careers in the theatre industry. When entering the theatre, the expectation was that the show, in the process of highlighting Prince’s works, would using meaning

The Prince of Broadway celebrates sixteen shows that the legendary Hal Prince directed, and as the musical states, some of them were flops and some were successes, but all of them, he believed, were creatively daring and meaningful. Thus, it was up to the audience’s discretion for this show if they agreed with his direction of this somewhat-seeming self-serving musical, and with the statement aforementioned, some of the performances were flops and some were major successes.

Tony Yazbeck in Follies. Photo by Matthew Murphy.

For instance, Tony Yazbeck truly shined throughout all numbers he was in, most notably in “The Right Girl” from the musical Follies. His exquisite tap dancing followed by his intense acting sent the crowd roaring for more of his excellence. And that wasn’t the only star performance by Mr. Yazbeck. Even from his first spotlight on the Friedman theatre, one could tell by his poise that he would shine in every performance that he was staged in, success or flop.

However, with many successes, there are usually some flops tagged along. In this showcase of a musical, there were clearly some weaker moments. For example, pretty much every time the eponymous “Hal Prince” would narrate in the transitions between each performance, the delivery fell flat. It was almost to the point of cringeworthy between musicals that we were anticipating when the dialogue would end in exchange with the performances of yesteryear.

Overall, whether you are a Broadway aficionado wanting to relive some of the glories of the Great White Way or a newcomer wanting to delve deeper into the greats of the past, the Prince of Broadway is a wonderful showcase of brilliant performance and a pleasant night at the theatre.

Prince of Broadway is part of the Manhattan Theatre Club which offers a program called “30 Under 30” where anyone under the age of 30 can qualify for $30 rush tickets. Click here for more information.

Photo Courtesy  of Charlie and the Chocolate Factory

Roald Dahl’s classic tale imagined in two drastically different film interpretations makes its sweet debut on the Broadway stage at the Lunt-Fontanne Theatre on 46th Street. “Charlie and the Chocolate Factory” can make the sun rise and sprinkle it with dew with the playful, child fantasy it creates, but some of the wonders that “must be believed to be seen,” as Grandpa Joe exclaims, do not live up to their hype and leave the audience disappointed with what they actually witness.

Back in my hometown, we have a small children’s theatre where new and old productions alike are performed. I distinctly remember that we had a small production of “Charlie and the Chocolate Factory.” Even though these productions were completely different and the songs in the Broadway version are much better, I was almost shocked when I saw the Broadway set as the set for my small children’s theatre all those years ago seemed to be of the same quality as the Broadway version, if not more profound. The magical world that is Willy Wonka’s chocolate factory is hyped by every single character in the musical, including by actors who do ostentatious jazz hands and sing a repetitive shout of “Willy Wonka!” in order to signal the wonder and whimsy of the titular character. However, when it came time in the second act to witness the chocolate factory for the first time, the result was pretty underwhelming. This was not something I expected from the magic and grandiosity of Broadway.
As for the show itself, Willy Wonka, played by Christian Borle, was the clear star. His hilarious interpretation of the chocolate connoisseur kept me engaged throughout the entire show as Borle combined the different character interpretations from the films while also putting in some of his own flavor. My attention was glued to him for the majority of the time as he would infect the audience with hilarity such as the variety of different impressions he utilized including but not limited to Harry Caray. Even through the cringeworthy moments, such as the ear-piercing yodeling of Augustus Gloop and his mother, Violet Beauregarde’s lackluster explosion, the unique (for lack of a nicer word) Oompa Loompa musical numbers, and even the shocking morbidity to the show, Borle was able to ground the show with his maniacal yet heartwarming interpretation of the epitomal candyman. Through the unique (for lack of a nicer word) Oompa Loompa costuming and the  It’s a shame that the set behind him did not match his world of pure imagination.

Image Courtesy of Clara Apostolatos, CC’20

In this modern climate, times are extremely hard for dreamers. Motion pictures released this past year, such as La La Land, have emphasized a level of escapism that is natural for us  to succumb to in such troubling times. Similarly, Amélie not only resides in a fanciful tale necessitated for this plight of escapism, but it also instills a lasting message of kindness and “doing the right thing”: a message that the cast wishes to impart to their audience and one that is more important than ever.

In this whimsical retelling of the Academy Award nominated motion picture of the same name, the life of the titular Amélie Poulain is catalogued from her secluded childhood in the outskirts of Paris to her eccentric yet isolationist adult life in a small apartment in the heart of the City of Lights. Amélie speaks to the shy introvert in us all who is bursting at the seams to try and make life a little easier each and every day.

Stellar performances are exhibited by Savvy Crawford, who plays Young Amélie, and Adam Chanler-Berat, who plays Nino Quincampoix. Nevertheless, Tony nominee Philippa Soo, who achieved fame through Hamilton and now plays the role of Amélie, stole the show as she delivers a radiant performance as the protagonist of this production. As soon as she runs onstage with the characteristic smirk of Amélie, she mesmerizes the audience member with her bubbly, mischievous portrayal of the character. Although Ms. Soo’s interpretation of Amélie is not as reserved as Audrey Tautou’s in the film, she does not have the luxury of a scene-by-scene narrator to illustrate her inner thoughts like Ms. Tautou did. Therefore, Ms. Soo relies on the company of Amélie to exemplify whatever odd thought strikes her.

In some instances, I found this incorporation of the acting ensemble into the mind of Amélie helped elucidate the scope of her inner motives. For example, the ensemble’s mimicry of heartbeats and their reveal of glittery hearts in dull briefcases gave the audience a taste of the tacit love that Nino and Amélie share. At other times, however, the ensemble’s participation was unnecessary and even awkward. For instance, different supporting characters would lose the identity of their own characters to narrate a life event of Amélie and then resume their individual nuances. I’ve seen some musicals that succeed in this aspect, but Amélie’s use of this tactic was a bit clunky, especially in comparison to the exemplary narration utilized in the movie.

With these differences, fans of the movie might gawk at the artistic liberties taken in regard to how the movie has been adapted for the American audience, including the absence of a narrator as well as the notable omission of the French language. There are some hints of this Romance language on the various set pieces, but barely any of the dialogue possesses any semblance of French. Some of the choices actually complement the musical experience extremely well. For example, the two cabines de télé that adorn the opposite ends of the stage mimic the experience of witnessing the telephone conversations in the movie Amélie perfectly. Nevertheless, the changes Amélie the musical utilizes make the musical its own.

Even with these small critiques, when comparing and contrasting the movie and the musical, the creative licenses the musical takes to tell the story of this eclectic heroine culminate in a pleasurable experience that the audience can enjoy.

Tickets to Amélie can be purchased from here. For more information on how to get rush tickets to the show, message LionBot “How can I get rush tickets to Amélie?”