Rapturous but fittingly stilted in their first-act finale, “I Remember How Those Boys Could Dance,” Cotton elicits pathos with “Stay Here Instead,” as she implores Carrie not to go to the prom. Pippin review – medieval musical lets the sunshine in. © 2020 The Hollywood Reporter The performances are also good. But, although Shrek stems from the 2001 DreamWorks film, it is genuinely theatrical, generous-spirited and mercifully free of the sensory bombardment that afflicts some of its rivals. Cotton approaches her part with the seriousness of Lady Macbeth, pairing her rich though sometimes raspy mezzo voice with Lopez's soprano in “And Eve Was Weak,” her biblical explanation for what happened in the shower. From there they pass into the backstage area and are seated in bleachers surrounding a high school gym where the action will play out. Gazing at the soaring, perpendicular towers of Farquaad's castle, Shrek enquires: "Do you think he might be compensating for something?" New website – musical theatre news, reviews, interviews. by About Our Ads For that climactic prom scene the curtain opens to accommodate the downstage area backed by a mural of a Venetian scene, the evening’s theme. Theatre Royal, London Michael Billington. A landmark musical-theater disaster in its original 1988 Broadway run, which closed after only five post-preview performances, Carrie received a leaner off-Broadway update at New York’s Lucille Lortel Theatre back in 2012. nce upon a time musicals drew their inspiration from books, plays or even real life; now they seem to be based on animated movies. Early on when Carrie starts menstruating in the gym shower and the other girls close in on her, the first few rows of the audience are swung into place, boxing in the action and dynamically changing the production's configuration. It's an amiable, well-crafted show that puts you in a pleasant frame of mind and that will fill a gap in the family market. That number is a distant cousin to the Witch’s song, “Stay With Me,” from Into the Woods, except that I remember how that song goes. Clearly Neil Diamond is a composer's best friend. For a moment, it looked as though they were dancing a chorus, a la Monty Python’s Life of Brian. Critics hailed the revisal as an improvement, though not enough to fully embrace the misbegotten musical. Read more 'Carrie': Off-Broadway Theater Review. A Room of One's Own review – Belvoir's wickedly funny and feminist return to the theatre 3 out of 5 stars. www.musicaltheatrereview.com Determined to rewrite the show’s bloody history, La Mirada Theatre for the Performing Arts has revived it yet again, this time with immersive scenic design and innovative staging. 3:51 PM PDT 3/25/2015 Therefore, we encourage you to explore the great depth and breadth of material in the field of theater … Not that Carrie isn’t fun. Under Brady Schwind’s superlative direction and in the hands of his devoted and determined cast, it may never see a better staging. I wanted a musical celebrating a theatrical talent. FACEBOOK Jeanine Tesori has come up with some perfectly serviceable numbers: Fiona has a charming spring-like ballad, Morning Person, and competitively engages with Shrek in I Think I Got You Beat, which has echoes of Irving Berlin's Anything You Can Do from Annie Get Your Gun – the difference here is that they are fighting not so much over high notes as low farts. Composer Michael Gore and lyricist Dean Pitchford are still active writing for TV and film in careers that have garnered them Oscars, Grammys, Golden Globes and Tony Awards. A landmark musical-theater disaster in its original 1988 Broadway run, which closed after only five post-preview performances, ... Read more 'Carrie': Off-Broadway Theater Review. In our musical theatre program, we are training actors who sing and dance. Both, it seems, were consigned by their parents to a life of perpetual solitude. @billicritic Tue 14 Jun 2011 18.00 EDT First published on Tue 14 … Nigel Harman, despite having his real legs strapped up behind him and hidden by a black curtain, paradoxically runs off with the show as Farquaad. Arriving audience members are escorted from the lobby down a hallway dressed like a post-apocalyptic high school with flickering fluorescent lights, battered lockers and abused desks and chairs. The evening's real pleasure lies in the wit of the staging by Jason Moore and Rob Ashford and the quality of the designs by Tim Hatley: we get sets that open up like the pages of a children's storybook, tap-dancing rats and a scaly dragon that starts by being manually operated in War Horse style and that ends up flying over the heads of the audience. In the titular role, Lopez demonstrates full physical and emotional commitment, employing a dynamic range in her singing that serves Carrie well. | Cookie Settings, The new production may be an improved version of the problematic show, but its issues remain unsolved. Sitemap | Jim Steinmeyer’s illusions get a full workout in the finale as well as earlier scenes in which Jesus figurines tremble at Carrie’s telekinetic touch. And, asked by the impatient Fiona if he has slain the fire-breathing dragon, Shrek evasively replies: "It's on my to-do list.". We learn more, for instance, about the backstory of the gigantic green ogre, Shrek, and the feisty Princess Fiona, whom he is sent to rescue from a dragon-guarded tower. Lawrence D. Cohen, who wrote the screenplay for Brian De Palma’s classic film based on the Stephen King novel, has tightened his book into a smarter, more streamlined form, deleting the infamous “Out for Blood” number that opened act two (high school boys stripped to the waist jump into a pig pen and slaughter a few while the audience is serenaded to deafening squeals). What it lacks is memorable tunes. EMAIL ME, Carrie the Musical Production Still - H 20154. Richard Blackwood is tartly funny as his faithful donkey-friend, even if he doesn't have the pathos of the animated version, and Amanda Holden is a spirited Fiona. There is much to enjoy in the show; what one craves, however, is a score that, as in Sondheim's Into the Woods, defines the reversal of conventional fairytale values. Terms of Use | TWITTER The chief appeal of the show lies in the fact that it reverses Oscar Wilde's dictum that "it is better to be beautiful than to be good". And with all due respect to Irene Cara’s number one hit, if that’s as good as it gets then in retrospect there’s no reason to expect more from Carrie. He plays him as a slightly camp version of Olivier's Richard III, at one point petulantly flicking his long, sable locks. As the lights dim, Cricket Myers' chilling sound design takes over, with pops and hissing over distant sirens. Therein lies the show’s insurmountable problem. They wrote “Footloose” for the film of the same name (with a screenplay by Pitchford), and Gore wrote the Whitney Houston hit “All The Man That I Need.” But neither ever topped their early success with Fame, for which they won Oscars for Best Score and Best Song. Nigel Lindsay makes the tartan-trewed Shrek a lovable outcast who forlornly sings that it's "a big bright, beautiful world" for everyone except him. London Theatre Reviews.

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