SITE GUIDE
REVIEWS
REVIEW ARCHIVES
ADVERTISING AT CURTAINUP
FEATURES
NEWS
Etcetera and
Short Term Listings
LISTINGS
Broadway
Off-Broadway
NYC Restaurants
BOOKS and CDs
OTHER PLACES
Berkshires
London
California
New Jersey
DC
Philadelphia
Elsewhere
QUOTES
TKTS
PLAYWRIGHTS' ALBUMS
LETTERS TO EDITOR
FILM
LINKS
MISCELLANEOUS
Free Updates
Masthead
A CurtainUp Review
Big Fish
|
"WHAT IF I SAID I MET A GIANT WASTING IN A CAVE
WHAT IF I CLAIMED I ROSE TO BE FAR BRAVER THAN THE BRAVE
ALL MY LIFE OF STORIES, SON, AND EVERY ONE IS TRUE. — Edward
|
Norbert Leo Butz, Zachary Unger, Sarah Strimel
|
Based on the original 1988 novel Big Fish by Daniel Wallace, John August has based the show's libretto on his original screenplay for the 2003 film. The musical version, however, is a lot more whimsical in its conception than the film, notably in ways that can only be conjured up through the magic of live theater.
Moving forward and backward in time, Big Fish is set in the South, mainly Alabama, where traveling salesman Edward Bloom (Butz) has made his home with his adoring and beautiful wife Sandra (Kate Baldwin) and his son Will (Bobby Steggert as the older Will and with his younger self portrayed by a spunky Zackary Ungart,whom I saw) and by Anthony Pierini at the matinees).
The story of a father who cannot restrain himself from wildly embellishing the truth is one in which you want to believe, whether you are a fan of the film or not. Using his own ho-hum travels through life as a springboard, Edward, without any apologies for exaggeration, relates them to his doubtful and disapproving young son.
As foretold to him by a witch (Ciarra Renee), the illness that is claiming Edward's life empowers Will to try and get to the bottom of some of the secrets his father has kept from him. In the first scene, Will, about to be married to the daughter (Krystal Joy Brown) of a doctor whom he met while in the foreign service, earnestly requests Edward to not tell any stories or make any jokes at the wedding reception. This suggestion is of course not taken seriously by Edward either at the wedding or for the rest of the show. That it is a bi-racial marriage (not so in the film) ceremony in a small Alabama town suggests that Will has been substantially impacted by his father's ability to step outside the box.
The story then moves backward in time to the bedroom of young Will where Edward regales him with some of his incredible adventures on the road. Stories such as the one about his life-long friendship with Karl, a misunderstood and reclusive giant (a bigger than life performance by Ryan Andes) for whom he finds work in a circus, may lack credibility — but they are all calculated to reinforce Edward's "Be a Hero" message to his son. All make us privy to the heroics that have become the defining course and the meaningful essence of this untypical father's life.
Designer Julian Crouch frames all the action by reconfiguring wooden slats through which various locations appear quite astonishingly through special effects and illusions, the latter often in the breathtaking costumes by (who else?) William Ivey Long. A scene in the woods, in which Will is confronted by the witch and surrounded by trees that are transformed into a corps of whirling black winged minions is breathtaking.
What is usually the orchestra pit has been transformed into a river, wherein splashes a gorgeous mermaid (Sarrah Strimel). I won't spoil the surprise location for the orchestra except to say that the revelation earned applause.
Imagination is never in short supply as in Edward's lengthy detour of working in a circus under a dubious contract with a wily ring master (Brad Oscar). It is here where Edward first gazes upon the winsome young Sandra as she is auditions with a delightful little ditty ("Little Lamb from Alabama").
In favorite episode Edward is in pursuit of a spy who is hiding out in a USO show that features a bevy of tap-dancing chorines in red, white and blue. Though there are a number of digressions from the film, the musical version remains true to its theme: we are the substance of our stories real or imagined.
It's a treat it is to see the multi-talented Butz (Dirty Rotten Scoundrals, Catch Me If You Can) not only make the quick transitions from his robust younger to his older self, but also dive with awesome grace into the derring-do and the dancing. His amazing grace and good singing support two plaintive duets with Baldwin ("Time Stops" and "Daffodils").
Tony nominated Baldwin (Finian's Rainbow) is not only beautiful but gives a stirring, heart-felt performance as the wise and conciliatory mediator between the men whom she loves. Steggert is hugely affecting as the young man who will undoubtedly follow, perhaps a little more gently, in the path of the some very big footsteps.
Whether it's the little fish that fly out the river water when Edward casts a spell (an occasion for a rousing dance) for the locals, or the really big one that. . .oops, that's telling too much about this endearing new family musical. Despite a tad long and sad denouement that is sure to evoke tears from the receptive, the ending will certainly send you out with a smile.
|
Big Fish Book by John August Music and Lyrics by Andrew Lippa Directed and Choreographed by Susan Stroman Cast: Norbert Leo Butz (Edward Bloom), Bobby Steggert (Will Bloom), Kate Baldwin (Sandra Bloom), Zachary Unger (Young Will), Anthony Pierini (young Will at Wed. and Sat. matinees), Krystal Joy Brown (Josephine Bloom), Ryan Andes (Karl), Brad Oscar (Amos Callaway), Ben Crawford (Don Price), Ciara Renee (The Witch), Kirsten Scott (Jenny Hill), Sarrah Strimel (Girl in the Water), J.C. Montgomery (Dr. Bennett), Alex Brightman (Zacky Price), Bryn Dowling (Dancing Fire), Robin Campbell, Lara Seibert (The Alabama Lambs), Tally Sessions (Mayor), Cary Tedder (Fisherman) Scenic Design: Julian Crouch Costume Design: William Ivey Long Lighting Design: Donald Holder Sound Design: John Weston Production Design: Benjamin Pearcy for 59 Productions Orchestrations: Larry Hochman Music Direction: Mary-Mitchell Campbell Running Time: 2 hours 30 minutes including intermission Neil Simon Theatre, 250 West 52nd Street Ticketmaster: 800-745-3000, 877-250-2929 Tickets: $55 - $155 Performances: Tuesday and Thursday at 8pm; Wednesday at 2 and 8pm Friday at 8pm; Saturday at 2 and 8pm; Sunday at 3pm. From 09/5/13 Opened 10/06/13; closing 12/29/13 Review by Simon Saltzman based on performance 10/03/13 . |
|
Musical Numbers
| |
Act One
|
Act Two
|
|
REVIEW FEEDBACK Highlight one of the responses below and click "copy" or"CTRL+C"
Paste the highlighted text into the subject line (CTRL+ V): Feel free to add detailed comments in the body of the email. . .also the names and emails of any friends to whom you'd like us to forward a copy of this review. For a feed to reviews and features as they are posted add http://curtainupnewlinks.blogspot.com to your reader Curtainup at Facebook . . . Curtainup at Twitter Subscribe to our FREE email updates: E-mail: esommer@curtainup.comesommer@curtainup.com put SUBSCRIBE CURTAINUP EMAIL UPDATE in the subject line and your full name and email address in the body of the message. If you can spare a minute, tell us how you came to CurtainUp and from what part of the country. |
Book of Mormon -CD