- TUNESMITH HAROLD CROSSWORD MOVIE
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It’s not her fault that her every smile doesn’t summon memories of Tracy Flick, the steely student-council campaigner that Reese Witherspoon played in Election before starring in Legally Blonde. Laura Bell Bundy can sing, dance, land a joke, and look good doing it, all of which makes her a fine Elle. That may be the most pernicious side effect of this genre. Though the show hasn’t been tidied up as relentlessly as its predecessors, the move from Hollywood to Broadway costs the material some of its endearing weirdness just the same. But that same crisp professionalism makes his work with the dancers seem uninspired.
TUNESMITH HAROLD CROSSWORD PROFESSIONAL
Here, director-choreographer Jerry Mitchell does a crisp, professional job whirling David Rockwell’s scenery into place without using blackouts. Sometimes one part of a show will ignite, like Marc Shaiman’s fiendishly catchy melodies for Hairspray, but rarely do these productions display anything more than a brisk, flavorless competence. It produces the same so-so feeling I’ve gotten, in different degrees, from all the recent movie-to-musical adaptations.
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Yet for all that’s genuinely likable here, especially the sharp lyrics and Christian Borle’s funny, underplayed turn as the elbow-patched Easterner who woos Elle, the show doesn’t inspire much love.
TUNESMITH HAROLD CROSSWORD TRIAL
Librettist Heather Hach sticks closer to the screenplay than adapters of other shows have, so the songs by Laurence O’Keefe and Nell Benjamin mainly expand scenes you remember from the movie, and offer fresh reasons to like them: As Elle prepares for her big date, the Delta Nus belt “Omigod, You Guys!” the sexuality of a witness in the show’s big trial is pinned down in “Gay or European?” As in the film, Elle Woods leaves her sunny sorority life in California to chase a boy who’s gone to Harvard Law, where “the girls have different noses,” in the words of her horrified father. Legally Blonde, now glowing pink at the Palace, offers some good news and bad news about what these adaptations are doing to Broadway. It’s harder to sustain excitement about a demographic-jumping musical adaptation of a film now that the genre has generated another major hit ( Hairspray) and a long-running success ( Dirty Rotten Scoundrels), and promised many more. No encomia to a show that made the cover of The New Yorker? No “Metro”-section ruminations on the musical that merited not one but two opinion pieces in the Times? The lack of interest has a lot to do with how mortal the show began to seem after Nathan Lane and Matthew Broderick departed, but it’s also a by-product of how aggressively Broadway elbowed into the show’s niche. Six years after The Producers had the most triumphant opening in a generation, followed by all that madness-a near-sweep at the Tony Awards, biblically long ticket lines-the “best show ever” just closed, with a baffling lack of comment.
TUNESMITH HAROLD CROSSWORD MOVIE
By the end, the movie resembles just another formulaic, family-friendly piece of product, one the kids will enjoy and you’ll endure as it goes in the DVD player for the 40th time.Illustration by Paul Willoughby Photo: Carol Ressegg/Courtesy of Boneau/Bryan-BrownĪ pair of new musicals has landed on Broadway, but the big news is the one that closed. The unforced cleverness of the opening scenes gives way to lazy plotting, awkwardly staged musical numbers, and car chases.
TUNESMITH HAROLD CROSSWORD UPDATE
Directed by Will Gluck (“Friends With Benefits,” “Easy A”) from a script by him and Aline Brosh McKenna, the new “Annie” tries to update the 1978 Broadway musical warhorse with ethnic diversity, big stars, revamped characterizations, and watery R&B arrangements of the songs.
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That sense of creative rejuvenation doesn’t last long.
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It’s a prettified Harlem, with the film’s title drawn on the sidewalk in rainbow chalk, but in its kid-friendly way “Annie” appears poised to acknowledge the gap between rich and poor in a way that the Depression-era comic strip’s tough-nosed creator, Harold Gray, might recognize. After briefly teasing us with a frizzy carrot-top (Taylor Richardson) right out of our collective pop unconsciousness, the film brings on “Annie B” - Annie Bennett (Quvenzhané Wallis), a bright-faced African-American kid who turns a school report on FDR into a classroom jam, then heads north to Harlem cheering up everyone she meets. Quvenzhané Wallis in the title role and Jamie Foxx as Will Stacks in “Annie.” Barry Wetcher/Sony Pictures/Sony Picturesįor about 15 minutes, the new “Annie” looks like it might turn into something.