BEN PLATT AND RACHEL ZEGLER TO STAR
IN THE 25th ANNIVERSARY CELEBRATION OF
JASON ROBERT BROWN’S THE LAST FIVE YEARS
Directed and Conducted Live by Jason Robert Brown
Tony, GRAMMY, and Emmy Award-winner Ben Platt (Dear Evan Hansen, Pitch Perfect, Parade) and Golden Globe and NBR winner Rachel Zegler (Evita, The Hunger Games, West Side Story), two of the most dynamic and celebrated performers of their generation, star together in a very special new concert staging of Jason Robert Brown’s The Last Five Years at the iconic Hollywood Bowl on Friday, April 3. Tickets for the general public go on sale beginning Friday, February 6, at 10 AM, with presales starting Wednesday, February 4, at 10 AM.
American Express is providing eligible Card Members access to Amex Presale Tickets®, available for purchase HERE starting Wednesday, February 4th at 10 am local time through Thursday, February 5th at 10 pm local time, before the general public on-sale, while supplies last. Terms apply. This is one of the many entertainment benefits American Express® Card Members can access across select arts, theater, sports and music events through Amex Experiences™.
To mark the 25th anniversary of this iconic musical, Tony Award-winner Brown (Parade, The Bridges of Madison County) will direct his masterpiece of love, heartbreak, and the passage of time, and will also take to the stage to conduct. This special performance of The Last Five Years will be as you’ve never seen it before: raw, intimate, and electrifying. With Platt, Zegler and Brown joining forces, this powerhouse concert transcends revival and redefines musical theatre at its most powerful. Two stars. One beloved composer. One relationship. One unforgettable night.
The Last Five Years is presented by Live Nation-Hewitt Silva in association with Lambert Jackson and Cuffe and Taylor, with Direction by Jason Robert Brown and Associate Direction by Emma Butler.
Live Nation-Hewitt Silva (LNHS) is the exclusive promoter of concerts at the Hollywood Bowl outside of the LA Philharmonic summer season. Andrew Hewitt and Bill Silva have produced non-classical concerts at the Hollywood Bowl since 1991, hosting artists such as the Rolling Stones, Paul McCartney, Barbra Streisand, Elton John, Dolly Parton, Eagles, Whitney Houston, Fleetwood Mac, Sade, Radiohead, Sting, Andrea Bocelli, Stevie Nicks, Billy Joel, Luciano Pavarotti, Tom Petty & the Heartbreakers, Mary J. Blige, Jay-Z, Coldplay, Lauryn Hill, Peter Gabriel, Dead & Company, Lana Del Rey, Depeche Mode, Tame Impala, Roger Waters, The Weeknd, and countless others. With their combined superior talent bookings and music offerings, LNHS has transformed the iconic venue into L.A.'s premier contemporary concert destination. One of the largest natural amphitheaters in the world, with a seating capacity of nearly 18,000, the Hollywood Bowl has been awarded Pollstar's "Outdoor Concert Venue of the Year" 16 times. The 2025 lineup featured some of the biggest names in contemporary entertainment, such as Cleo Sol, Phish, Halsey, Outlaw Music Festival, Ricky Gervais, Dimension 20, Leon Bridges, Tyler Childers, Mumford & Sons, Neil Young, The Who, LCD Soundsystem with Pulp, AJR, Shawn Mendes, Junior H, B-52s & DEVO, and Danny Elfman & Nightmare Before Christmas in Concert. livenation-hewittsilva.comInstagram | Facebook
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The Movie Report wants to attend all your live stage productions! Please send any and all invitations to this address. Thanks!
JE’CARYOUS JOHNSON STUDIOS LAUNCHES:
A REVOLUTIONARY BLACK-FORWARD
360-DEGREE ENTERTAINMENT POWERHOUSE
Thriller The Paralegal set as First Project
to be Produced and Financed by the New Studio
Hollywood, CA – (February 3, 2025) – The entertainment world is on the brink of a transformation with the launch of Je’Caryous Johnson Studios (JJS), a visionary 360-degree entertainment powerhouse created by acclaimed writer, director, promoter, and producer Je’Caryous Johnson.
At the helm of this historic venture is the visionary Johnson, a prolific producer and promoter whose live productions have drawn over 3 million fans to a Je’Caryous Johnson experience, and reshaped cultural conversations. Known for critically acclaimed works like Married But Single, Redemption of a Dogg (starring Snoop Dogg), Set It Off Live, and New Jack City Live, Johnson has solidified his reputation as a creative titan with an unparalleled ability to connect with audiences.
JJS wants to be an incubation hub for talent and will offer artists an unparalleled opportunity to become part of a groundbreaking multi-vertical approach to building their personal empire. By signing a comprehensive multi-vertical deal with the company, artists will unlock the chance to showcase their talents across a diverse range of platforms. This includes starring in films, captivating audiences through podcasts, commanding the stage in theater and live performances, and much more. JJS’s innovative model empowers artists to expand their reach, amplify their voice, and cultivate a legacy that spans multiple creative domains all under one cohesive and visionary partnership.
On the narrative feature side, JJS plans to produce, finance and develop a slate of high-concept projects, with production slated to begin on the first film, The Paralegal, in late March. The studio’s bold lineup will underscore its commitment to pushing creative boundaries while staying rooted in authentic Black storytelling. The Paralegal is written and will be directed by Je’Caryous F. Johnson, marking his feature film debut. The film follows a lawyer who finds himself being blackmailed by a deranged paralegal determined to take everything he has—except his wife.
The slate will consist of 3-5 films annually. These films, with a primary focus on black stories, have a range of budgets, crossing all genres, and will be produced to fit the 360-degree model, which will be creating content for the company’s many mediums. JJS operates as a turn-key solution for every aspect of production including podcast, feature films, scripted and non-scripted television, comedy shows, concerts, stage plays, and live immersive experiences. JJS collaborates with artists and fosters writing and development, provides and arranges for financing, oversees and provides production services, and sees through all aspects of distribution.
“This isn’t just about creating movies or producing stage plays,” said Je’Caryous Johnson. “This is about building a home where Black talent can thrive, innovate, and amplify their voices like never before. Je’Caryous Johnson Studios is where Black artists can fully realize their creative visions and leave a legacy that will inspire generations. This is the future of entertainment.”
In preparation for this moment, Johnson has built an extraordinary vault of content containing over 120 finished screenplays and TV episodes. The studio also plans on acquiring existing Hollywood IP to produce live event productions as Johnson has done successfully with iconic films like New Jack City.
“We’re not just telling stories; we’re creating cultural phenomena,” continued Johnson. “This is about transforming artists into icons and making their voices resonate in ways the industry has never imagined. For far too long, the contributions of Black Americans have been overlooked. JJS is where those stories find their voice, their power, and their home. This isn’t just entertainment—it’s liberation through storytelling.”
To commemorate the launch of Je’Caryous Johnson Studios, the company will debut its newest live production, Jason’s Lyric Live, in February 2025. Adapted from Bobby Smith, Jr.’s iconic screenplay, this 22-city national tour reintroduces the powerful, poetic love story to a new generation of theatergoers.
Featuring an all-star cast including Allen Payne, Treach, Eva Marcille, K. Michelle, Tyrin Turner, Lawrence Hilton Jacobs, and Victoria Rowell, Jason’s Lyric Live promises to deliver an unforgettable experience, blending the raw emotion of the film with the immersive magic of live theater.
Je’Caryous Johnson is a creative trailblazer whose live productions have captivated millions of fans and redefined the American stage. From Married but Single to Set It Off Live and beyond, Johnson’s works have consistently blended humor, heart, and cultural relevance. His commitment to honoring Black stories has made him a revered cultural leader, and his latest venture, Je’Caryous Johnson Studios, cements his legacy as a premiere entertainment icon.
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February 6, 2024 – Broadway in Hollywood and Je'Caryous Entertainment are pleased to announce that the Hollywood Pantages Theatre in Los Angeles will host the L.A. Premiere of Super Freak: The Rick James Story, about the charismatic, flamboyant, provocative musician who dominated the airwaves, with his infectious song “Super Freak”. Rick James’ fusion of funk, groove and rock made the unruly pioneer the trendsetter of the 80's. Super Freak will play the Hollywood Pantages Theatre June 6 – 8, 2024 for four performances only.
Tickets for Super Freak are available for purchase at www.BroadwayInHollywood.com or in-person at the Hollywood Pantages Box Office. Check the website for current box office hours. All prices are subject to change without notice.
Always outrageous, Rick James was a master of celebration and now the party lives on through Super Freak. With a stellar cast, breathtaking choreography, and popular hits such as "Give It to Me Baby," "Mary Jane," and "Super Freak," this musical odyssey bursts to life on the gritty streets of Buffalo – the backdrop for the arrival of the King of Punk Funk.
With his iconic braids and leather-clad body, Rick's flamboyant and rebellious stage persona takes center stage as we follow his turbulent life; tracing his rise to stardom, his chart-topping hits, and the profound impact he made on modern music as a brilliant hitmaker, and influential producer.
Produced by acclaimed Writer/Producer/Director Je'Caryous Johnson and Ty James, James’ only daughter and President of the Rick James Estate, Super Freak: The Rick James Story is based on the books Glow by Rick James and David Ritz, and Memoirs of a Superfreak by Rick James, and is written by Johnson, J. Kyle Manzay and Troy Byer.
Johnson, who has earned acclaim for his dynamic and immersive theatrical productions, expressed his excitement about bringing Rick James' story to the stage. "Rick James was a true trailblazer whose influence continues to resonate in today's music landscape. With Super Freak: The Rick James Story, we aim to honor his unparalleled talent and captivating persona, giving audiences an unforgettable experience."
Ty James, who has been instrumental in preserving and promoting her father's musical legacy, shared her enthusiasm for the project. "This project is a labor of love and a tribute to my father's extraordinary life. I’m thrilled to collaborate with Je'Caryous Johnson to create an authentic and exhilarating portrayal of Rick James' journey, showcasing his musical genius and larger-than-life spirit."
Rick James was Motown’s hottest artist in the 80s releasing chart-topping hits "Super Freak" and "Give It To Me Baby" on his 1981 LP, Street Songs. These tracks showcased James' mesmerizing bass lines and infectious grooves that beckoned listeners to the dance floor. He was a sought-after producer, working on hits for Eddie Murphy (“Party All the Time”), The Temptations (“Standing On The Top”), The Mary Jane Girls and Teena Marie.
Super Freak: The Rick James Story takes audiences beyond the glittering facade. The musical explores the layers of Rick's internal struggles and insane lifestyle filled sex, drugs, and music. From humble beginnings to the glitzy, hedonistic world of Hollywood, Super Freak: The Rick James Story captures the essence of a musical icon, leaving audiences with an unforgettable experience and the resounding declaration, "He's Rick James, B*tch!"
For almost two decades, Je’Caryous Johnson has transformed the world of urban theatre and propelled himself into mainstream notoriety and success. It all started for him with his forward thinking to turn African American romance novels into stage plays. The four-time National Championship Playwright is a recipient of the NAACP 2007 Trailblazer Award and is the youngest producer/playwright to garner national media attention. He was the first person to adapt an African American romance novel into a stage play. He was also the first person to write and produce a novel and a play, simultaneously.
To date over 3.5 million people have seen Johnson’s shows and they have grossed over $150 million dollars in revenue. Some of Johnson’s hit plays have included Men Cry in the Dark with Allen Payne, The Maintenance Man with Billy Dee Williams, and Friends and Lovers and Cheaters with Grammy Award winning singer Brian McKnight. Married but Single and Married but Single Too, which starred LisaRaye McCoy and Bill Bellamy, sold out from coast to coast and continued to garner Johnson a groundswell of support and fans. Even his most recent endeavors Redemption of a Dogg, adapted for the stage and based on the hit gospel album of hip-hop icon Snoop Dogg; Two Can Play That Game starring Vivica A. Fox; Set It Off starring Da Brat as Cleo; and New Jack City, starring Allen Payne, reprising his role as Gee Money, and Naughty by Nature's Treach, both based on the hit movies, continue to establish Johnson as a trailblazer and put him in a league of his own.
About Ty James:
As the President of the Rick James estate, Ty James is wholeheartedly dedicated to honoring her father's musical contributions and ensuring his enduring impact on the history of music. She has joined forces with Showtime and Mass Appeal as an executive producer for the official documentary chronicling her father's life. The documentary premiered on September 3, 2021, offering an intimate and comprehensive portrayal of the legendary artist.
In addition to her involvement in the documentary, Ty James has launched a clothing line named after her father's band, Stonecity. This clothing line serves as a tribute to Rick James funky style and his profound musical legacy. Furthermore, she has established a music label called Dreammakers Worldwide, inspired by one of Rick James' hit songs. Through this label, Ty aspires to sign and promote artists whose music carries deep meaning and touches hearts, transcending through decades, much like her father's music does.
Ty James embraces her role as a custodian of her father's musical heritage, actively working on various projects to honor Rick James' legacy and support the continuation of his influential musical impact.
Super Freak: The Rick James Story is recommended for ages 18 and up. The show contains mature subject matter. Children under the age of 5 will not be admitted into the theatre. All patrons must have a ticket, regardless of age.
Dog Man: The Musical is a project that would be easy to dismiss out of hand. A stage musical adaptation of Dav Pilkey's enormously popular children's book series, it is all too easy to write off as a crass IP cash grab -- and, if only glancing at images of TheatreWorksUSA's touring production, the fairly modest production values would appear to reinforce that notion. But as with many things, context is key, and simplicity is not only by design, but also why the show works as well as it does: it is, quite simply, fun.
That simplicity manifests right upon entrance into the theatre, with the set by scenic designer Timothy R. Mackabee. A cardboard-heavy approximation of the interior of a treehouse, it sets the stage (puns not intended) for not only the overall do-it-yourself vibe of the aesthetic, but also squarely within the mindset and perspective of its main characters: fifth graders George (Marcus Phillips, coming straight off his impressive work in East West Players' powerful production of Spring Awakening) and Harold (Max Torrez). In addition to being best friends, they are also creative partners, having written and drawn the ongoing comic book exploits of superhero Captain Underpants (itself a successful book and multimedia franchise by Pilkey) and, yes, the titular canine-human hybrid cop, Dog Man. The premise of the adaptation by librettist/lyricist Kevin Del Aguila and composer Brad Alexander is at once inspired and, yes, simple. George and Harold decide to take their art to the next step by turning one of their Dog Man adventures, A Tale of Two Kitties, into a musical.
That is, in fact, the name of one of Pilkey's actual books, and Dog Man: The Musical follows its original plotline to the letter. After a brief recap of the character's origin (accident leaves a cop and his K-9 partner to be merged into one literally dog-headed man after an experimental lives-saving surgery -- just go with it), Dog Man (Brian Owen) must protect the city from evil cat Petey's (Bryan Daniel Porter) latest scheme, which involves him creating a clone of himself (L.R. Davidson); but in addition to these two kitties is another looming threat, that of nefarious fish Flippy (Chadaé Nichol).
Yes, it's all very silly, but quite willfully so -- more than simply being primarily targeted at theatergoers around the same age as George and Harold, Del Aguila, Alexander, and director/choreographer Jen Wineman quite vividly place theatergoers of all ages into that boundless, anything goes space of tween-age imagination. The "cheap"-looking DIY aesthetic from the makeshift set pieces, props, costumes (by Heidi Leigh Hanson), and masks is very much in line with what a show put on by 10-year-olds would actually look like. But, more importantly, Dog Man: The Musical is in line with what such a show would feel like, and that's to the massive credit of the energy and exuberance of the gifted and crazily hard working cast of six. They seamlessly shuffle between their primary characters and places in the ensemble, always tirelessly giving their all to their comedic characterizations, Wineman's inventive choreography, and Del Aguila and Alexander's tuneful songs. It is in the latter where it is the adults in the audience will have a something a bit more savor than the kids, with the meta conceit allowing Del Aguila to add witty, knowing references to musical theater to go along with the broader gags.
But one does not need to be grown up to appreciate the infectiously catchy score, and chances are people of all ages, Dog Man fan or newcomer, walking out of theater after its brisk 90-minute runtime will do so singing -- either in their heads or aloud -- the earworm that is the anthemic "Dog Man" theme song. Dog Man: The Musical may ultimately be "just" a breezy family entertainer, but that it feels so effortless is a testament to the substantial talent, thought, and craft that brought it to theatrical life.
Chadaé Nichol, L.R. Davidson, Brian Owen,
Bryan Daniel Porter, Marcus Phillips, and Max Torrez in TheatreWorks USA's production of Dog Man: The Musical
(photo by Craig Schwartz Photography)
Air Play has been touring across the world consistently since its premiere in 2015, and it's easy to see why -- "see" being the operative word there, for describing this familiar yet utterly unique theatrical experience by the veteran circus performer duo known as Acrobuffos (Seth Bloom and Christina Gelsone) in the written word does not quite do it any justice.
The aforementioned "familiar" in Air Play lies in the specialty of Bloom and Gelsone: silent physical comedy and clowning. As the two play siblings who bicker, play, and playfully bicker while engaging with balloons and other objects tossed and/or blown into the air--and even into the audience's seats--the antics and style are, at face value, not unlike anything one would find in any circus show. Chances are, though, one wouldn't find the gags and set pieces executed with the natural ease and charismatic personalities that the Acrobuffos display.
The "play" is fun as it is, but it's the "air" half of the title that makes this such a unique theatrical experience. As mentioned, balloons are frequently used throughout the hour-long performance, but not only as thrown and tossed by the performing pair. Bloom and Gelsone developed this piece with artist Daniel Wurtzel, credited in the official program notes as "kinetic sculptor"--and that title is probably the closest one can come to describing in words the stunning, in-motion stage pictures that are created. That these images are created with combinations of objects that, when listed, could not sound more mundane -- fans, umbrellas, glitter, fabrics, balloons of varying sizes -- make the achievement all the more impressive and quite literally awe-inspiring. When these artworks blend in and meld into the Acrobuffos' broader hijinks, they and director West Hyler create a live theatrical experience that is truly unlike any other, in the best way possible.
Even if musical adaptations of films were not an increasingly commonplace presence on Broadway in the last fifteen years or so, the beloved 1990 rom-com Pretty Woman would have been a no-brainer for a tuneful treatment. After all, what is Vivian Ward, Hollywood hooker with a heart of gold whose rich client ends up being the knight in shining designer suit of her dreams, but the one and only R-rated Disney (via Touchstone) Princess? Or to take things even further into the legit theater canon, what is this tale of a rough around the edges young woman who undergoes an external makeover and internal awakening with the help of a privileged male benefactor but a variation on Pygmalion / My Fair Lady? With such familiar archetypes and tropes--and, in this day and age, established/beloved IP's--comes a certain luxury that lends theatrical creatives a certain extra latitude for imagination, what with the audience already having built-in comfort from the tried-and-true source material. But then that very advantage can also, even more easily, lead to a certain creative complacency and even laziness--and that sadly is the case with the squandered potential of the perfectly pleasant but ultimately disposable Pretty Woman: The Musical, which only ultimately underscores what rare alchemy the makers of the now-classic film were able to pull off.
Two of those makers, screenwriter J.F. Lawton and the late director Garry Marshall (in what ended up being his final project), are credited with the book here, and at curtain-up they, along with director Jerry Mitchell and songwriters Bryan Adams and Jim Vallance, appear to inject some freshness into what I would presume is an oft-viewed film for most of the audience members. The opening production number "Welcome to Hollywood" effectively sets the scene of 1990 Hollywood, with its big dreams from little people on the fringes (namely, the homeless and prostitutes), while also showing a smart adaptation note in seemingly establishing the film's bookending "Welcome to Hollywood! What's your dream?" drifter (here played by Kyle Taylor Parker) as a narrator of sorts. But perhaps more importantly to fans of the original film, which, while not being a musical, had a very memorable soundtrack, the song and number also capture the buoyant energy with which Go West's otherwise lyrically-inapplicable "King of Wishful Thinking" kickstarted the movie.
The energy soon dissipates when the book scenes immediately begin soon after, with a lost Edward (Adam Pascal) asking an on-the-job Vivian (Olivia Valli) for directions on a Hollywood street corner. All proceeds about exactly as it does on screen, and that's the issue--one that proves to ultimately plague the production as a whole. There is some validity to the old adage of not fixing what isn't broken (and, in this specific case, has held up remarkably well under the three-decade-plus test of time), but Lawton and Marshall don't so much adapt their work for the screen so much as transplant it directly onto the stage, nearly scene for scene, and even more nearly verbatim. As one of those people who has seen the original film countless times, there admittedly is a certain amount of amusement that comes with anticipating certain lines before they are uttered. But that novelty wears off quickly, leaving one with the increasingly nagging question of why exactly (aside from the obvious financial reason) this production exists in the first place.
That elusive raison d'être theoretically should come from the score, which, unlike the book, is wholly original. However, this is one area where the creative team probably could have more effectively used elements from the film. After that rousing opener, Adams and Vallance eventually find themselves in a losing battle against the lingering impression of the classic movie soundtrack. This is not to say their songs are not pleasant to hear, especially sung by voices as strong as Pascal (who, astonishingly, has lost none of his power, edge, and clarity in the quarter century since his star-making turn in Rent's original cast) and Valli's. Given how the songs here are more or less merely grafted onto the existing screenplay, Adams's well-established brand of agreeable pop is at its best here when called on to catch the general vibe of a scene/beat's movie counterpart, as they do with the opening scene and "Rodeo Drive," a pre-first shopping spree number for Vivian's BFF/mentor Kit De Luca (Jessica Crouch) that reasonably duplicates the raucous, rock-y verve of Natalie Cole's "Wild Women Do." While the commitment to serve up completely original songs is admirable, whenever they attempt to replace the iconic sonic touchstones (no pun intended) from the source, Adams and Vallance are at their least inspired. Vivian's second, and far more fruitful, attempt at a shopping spree makes for a smart intermission break point, and while nothing anyone could ever compose could ever compete with the Roy Orbison evergreen that lent the film its title (which does, eventually, get performed, but only as a half-hearted curtain call), it is a plum opportunity for an all-stops-out act one closer in its own right. Alas, what Adams and Vallance offer is neither melodically nor lyrically memorable from the moment the lights black out, ending the first half with a whimper. Even more meek is their replacement for the film's climactic chart topper, Roxette's "It Must Have Been Love"--a ready-made (both in music and lyrics), barnstorming, no-dry-eye-in-the-house 11 o'clock number if there ever was one. Repeating the word "extraordinary" ad nauseum to a sluggish, soppy tune does not quite pack the needed punch for a moment that calls for a power ballad. (One cannot help but wonder why, unlike other stage adaptors of popular films, Lawton, Marshall, and Mitchell did not simply license and retain the source film's most memorable songs, à la Ghost: The Musical; one can only surmise a veteran pop star like Adams would only agree to compose no less than a 100% original score.)
Hamstrung by the limitations of the book and score, Mitchell mostly does whatever else he can to freshen up the proceedings. Also serving as choreographer, he never passes up an opportunity to showcase the dance skills of his gifted ensemble. While some of these passages are a bit gratuitous, such as an extended dance break for the helpful Regent Beverly Wilshire Hotel manager Barnard Thompson (also played by Parker, in a bit of dual casting that initially seems to have, but ultimately doesn't, have an additional meaning) with one of his bellhops, the impressive moves do help to keep the energy level up. Despite generally lackluster, no more than merely functional, scenic design by David Rockwell (for all of its Hollywood-ized, feel-good gloss, the Marshall film was able to clearly paint a contrast between Vivian and Edward's worlds; not so much here, where the minimalist approach, down to a literally blank backdrop, makes both Hollywood Boulevard and Beverly Hills look rather cheap), Mitchell does craft some interesting set pieces, most notably a recreation of the famous opera scene, where a creative blend of dance, excerpts from La Traviata (immaculately sung by Amma Osei), one of the better Adams/Vallance tunes ("You and I"), and a replica of Julia Roberts's famous red dress make for a highlight that honors but does not completely ape the original. Also working on a similar honoring-but-not-duplicating note is Mitchell's casting, particularly that of the leads, who do make a worthy, valiant effort to step out of their film predecessors' shadows and inject their characters and the pairing with their own unique spins. A suitably dashing Pascal has the easier job, what with Richard Gere being the blankest of slates in the film, and being a generally more vibrant actor, he more clearly tracks Edward's thawing and loosening under Vivian's spell. As such, he and Valli create a beguiling chemistry distinct from the fire-and-ice Roberts/Gere match. Valli makes the most of her first major lead, injecting Vivian with a beautiful and versatile singing voice, loads of charm and spunk, and a bit more of an edge to her presence than America's Sweetheart-era Roberts. She truly is a name to watch.
And that's, ironically, kind of a shame since Pretty Woman: The Musical should, in theory, itself be a star-making vehicle for an actress on the stage as it was for Roberts on the screen. But Valli, as naturally shining a presence as she is, can only do so much with a production where--new, generally forgettable songs notwithstanding--slavish adherence to the film is the general modus operandi. She, or anyone else playing Vivian on stage, can switch up the inflections and rhythms of her line deliveries as much as they want, but that those lines and those costumes are the same as those spoken and donned by Roberts serve as a constant reminder of that iconic turn that was immortalized (and then replayed/rewatched ad nauseum) over 30 years ago, and suffocate any chance for its star--and the show as a whole--from standing on its own.
The First National Tour of Pretty Woman: The Musical is now playing at the Dolby Theatre in Hollywood through Sunday, July 3; the production then moves to Orange County at the Segerstrom Center for the Arts in Costa Mesa from Tuesday, July 5 through Sunday, July 17 before continuing to other cities across America through 2023.
Olivia Valli as Vivian Ward, Adam Pascal as Edward Lewis,
and the company of Pretty Woman: The Musical
(photo by Matthew Murphy for MurphyMade)
The Great White Way is littered with many a corpse of would-be blockbuster stage musicals based on beloved films, and--contrary to the most generally held perception--a number of them have been courtesy of the entertainment and cultural behemoth that is Disney. High profile disappointments such as The Little Mermaid, Tarzan, and Frozen have become more common in the more recent of the Mouse's near-30 years in the legit theater business, but one surprising exception has, ironically, been the stage adaptation of one of the studio's most infamous film flops: the live action musical anomaly that was 1992's Newsies. Ten years after the property made its unexpectedly triumphant Broadway debut, 3-D Theatricals makes its big return to the Cerritos Center for the Performing Arts in two years with a production that shows just why a largely forgotten screen also-ran has become a modern stage favorite.
For the unitiated, the musical, with book by Harvey Fierstein, music by Alan Menken, and lyrics by Jack Feldman, shares the same obscure historical basis as Kenny Ortega's original film: in 1899 New York City, a group of poor, young street newspaper salesboys--the "newsies" of the title--went on strike in protest of a price increase that would substantially cut their already slim profits. What came off as stodgy and stilted on screen (due in large part to some self-consciously tentative performances, chiefly that of a young Christian Bale, whose charisma could not mask his lack of comfort in dancing and, especially, singing) proved to be anything but on stage, as seen in the filmed performance featuring much of the principal original Broadway cast that was released in select cinemas (and is now streaming on Disney+)--and, now the 3-D Theatricals production. While not a replica of Jeff Calhoun's Broadway and national touring production, director T.J. Dawson captures the essence of what gained the piece a fan base that far dwarfs that of the film's cult. The scenic design by Bruce Brockman (originally done for Music Theatre Wichita) is not on the scale of the massive, moving staircase, scaffolding, and square scrim trio of towers that dominated the original production. But in form and function, a set of two smaller staircases and a lower, center scaffolding piece plus fly-in screens for the projections, work just as effectively in evoking various New York cityscapes and locations as they are pushed into various configurations by the cast.
It's that last ingredient, the cast, where any production of this piece sinks or swims--particularly in one such as this, which maintains the original Broadway and tour mounting's emphasis on elaborate, athletic, and downright acrobatic choreography. Dawson goes an extra, uncompromising step in enlisting Chazz Wolcott, a veteran of the First National Tour cast, to recreate Christopher Gattelli's Tony-winning work, so true triple threat talents were required across the board, and the entire company delivers. More than most shows, the ensemble players deserve special mention, with the many large group numbers supplying and maintaining the bulk of the piece's propulsive energy. But the principals, particularly Dillon Klena (as newsie leader Jack Kelly) and Allison Sheppard (as, in a bit of a composite of two characters in the source film, young newspaper reporter Katherine, who develops a personal interest in Jack beyond the cause) fluidly, seamlessly slide into the troupe whenever called on to do so. Sheppard in particular is impressive in the act two opener, "King of New York"; the original film counterpart featured a very brief moment of tap dance, which, in a rather inspired bit of translation to the stage, now dominates and drives the number.
Driving the entire show's word of mouth since its world premiere at the Paper Mill Playhouse in New Jersey in 2011 has been the spirited dancing, but that alone does not mean a thing if there is no audience connection with the story and characters. With the former still being the somewhat dry even with all the welcome narrative streamlining and retooling done by Fierstein's book, the actors are called on to add the necessary flavor and engagement, and the lead cast are up to the task. Klena is an effortlessly likable and charismatic presence, and he has excellent chemistry with the luminous Sheppard and his focal fellow newsies, Davey (Rod Bagheri), his younger brother Les (Colton Dorfman), and the aptly nicknamed Crutchie (Kyle Frattini). They are also very able vocalists, revealing just how much Menken's tunes were shortchanged by the film's less capable voices. The designated "adults" in the piece, Norman Large as greedy publisher Joseph Pulitzer and Carrie Compere as vaudeville performer/newsie supporter Medda Larkin, remain fairly thankless, functional roles, they make positive impressions.
Making a lasting impression is 3-D Theatricals' Newsies as a whole, achieving an alchemy where the live experience is exponentially more entertaining and memorable than it would appear on paper. After two years away from the stage, the company's joy in performing again is palpable, and that exuberant energy is infectious and irresistible from first moment to the curtain call.
Twenty-seven years after it was first staged in Atlanta, Pearl Cleage's celebrated Harlem Renaissance era play Blues fror an Alabama Sky finally made its debut in Los Angeles last night, Wednesday, April 13, under the direction of that premiere production's original lead star, Phylicia Rashad. A number of notables from Hollywood were in attendance for the opening night performance at the Mark Taper Forum.
The Los Angeles premiere production of Blues fror an Alabama Sky is now playing at the Mark Taper Forum at the Music Center in Downtown Los Angeles through Sunday, May 8.
