Given the personnel, which also include stars Norbert Leo Butz, Kate Baldwin and Bobby Steggert, there was a fair amount of anticipation for this production, particularly since it is one of the only new musicals with actual new music to hit Broadway this fall.
Sadly, Big Fish didn't make a big splash. Reviews were lukewarm nearly across the board, most noting that the show — all about the grandly embroidered fantasies of the past told by the dying hero, Edward Bloom — lacked a certain magic.
"For a show that celebrates tall tales, Big Fish feels curiously stunted," stated the Times. Said Newsday, "it's crushing to realize, early on, that this gentle, sincere, beautiful-looking show is deadly dull. Author John August, who also wrote the screenplay, strings sentimentality and hackneyed picaresque escapades together as if they were equivalent balls on a string."
Variety, which was more positive, admitted that set designer Julian Crouch and costume designer William Ivey Long provided plenty of razzle-dazzle. But "The main thing missing from this show — and might have taken the edge off its unlikable hero and unpalatable message — is the mystical sensibility that flavors Southern storytelling. Although supposedly set in Alabama, there's not a hint here, musical or otherwise, of the traditional magic found in regional folktales. The kind of magic that might transform a selfish character like Edward Bloom into the hero of his own dreams."
More than anything else, the score was faulted, and Lippa came in for a critical drubbing. "I couldn't get past fundamental problems with the source material," wrote The Hollywood Reporter. "While the lyrics are more literal than imaginative, not to mention doused in Hallmark syrup, Lippa's score is better than his last show, The Addams Family."
Butz, who these days headlines more new musicals than any other actor, and never fails to impress the critics, again won admiring reviews. "Butz proves he's simply in a league of his own," wrote the AP, "able to switch from middle-aged to teenager in a snap, offering a complex portrait of a Southern man while avoiding good 'ol boy cliches, and he even spends some of the night lying in a hospital bed, not the most expected way to lead a musical."
The other Broadway opening of the week was the "concert" musical A Night With Janis Joplin, which stars Mary Bridget Davies as the late rock singer. It officially opened at the Lyceum Theatre Oct. 10.
Written and directed by Randy Johnson, the new musical purported to dissect the musical roots of Joplin's inimitable vocal style without wallowing too much in the sordid details of her short life.
The general critical thrust was: Good concert; bland play. Most every review applauded Davies' eerily apt performance as Joplin, noting the actress' similar looks and vocal styles. (It's always disquieting to see drama critics — among the least hip people on the planet — use the word "rockin'" in a sentence.)
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