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“Fine”, “Seven “fine”s since we left the polo match. Can I have another word?” Actually no, not really. That word is about the best one I can find to describe the new classic film-to-stage musical, Pretty Woman. And not in the 12 Step recovery jargon, where ‘fine’ could (and usually does) mean ‘F@cked up, Insecure, Neurotic, and Emotional‘ because if that was the case, then I truly would have been a much happier shopper at the Broadway Nederlander Theatre. But as written by the late and great Garry Marshall (director of “Pretty Woman” the film) and screenwriter, J.F. Lawton (“Pretty Woman” the film), the musical rarely achieves that same special place that the 1990 film occupies in romantic comedy heaven.  It has all the good lines, well, most of them, and almost every iconic set-up, but the end result feels as flat and bland as a Chevrolet Malibu, mainly because the book and actions play strict allegiance to the film, and rarely give it any chance to rev-up its cylinders in its own unique way.
Andy Karl, Samantha Barks and Company in PRETTY WOMAN THE MUSICAL, Photo by Matthew Murphy, 2018

There seems to be a large number of projects lately that use an iconic film as the blueprint for musical theatrical success.  Mean Girls, Frozen, and School of Rockhave all managed to find something new and intriguing within the movie framework to give themselves a reason for being. The book and music have each created something special, as the creators understand that one can’t just take the same straightforward approach, utilizing each memorable line and adored setup in the exact same manner of the film.  Moulin Rouge, a new Broadway-bound musical that I was fortunate enough to see in Boston, held tight to the things we loved but added a whole lot of surprise and then reshuffled its context to keep us tingling and engaged.  Mean Girls did the same, giving us each and every celebrated cinematic line that we were all desperate to hear, without ever losing a sense of newness and exciting elevation, which was totally fetch.  It’s about the balance of giving us the classic feel of the road while keeping us looking out the window at the specialness of the journey’s horizon.

Andy Karl, Ezra Knight, Samantha Barks and Robby Clater in PRETTY WOMAN THE MUSICAL, Photo by Matthew Murphy, 2018

Andy Karl, an actor who brought energetic charisma to another movie-to-musical Broadway show, Groundhog Day plays Edward Lewis, a man lost in the acquiring world of domination and detached deconstruction, who is in desperate need of a new way to drive forward. Getting in that hot sports car and not his traditional limousine, Karl does a wonderful job creating his own unique take on the slightly cardboard cut-out character that Richard Gere most magnificently charmed his way through. He’s saddled with some pretty difficult songs to sell, like the one note “Something About Her” and “You’re Beautiful” written by the Canadian rock legend, Bryan Adams and his collaborator of nearly 40 years, Jim Vallance.  They aren’t bad songs at all, sounding like a blend of country and rock that I would gladly listen to on a long drive to Vegas, with Karl lifting them up higher with a very Adams-like growl and grind, but as musical theater pieces, they are slightly one note and don’t really drive the idea forward into any new terrain. Karl’s song, “Freedom” is country rockstar great, but when it first cruises in near the end of Act I, it doesn’t really make as much sense as it does when it is reprised in Act II. Regardless, Karl finds charm and an essence all of his own within this adaptation, and takes us for an authentic spin that keeps us guessing as much as the tightly constricted piece allows.

Ellyn Marie Marsh, Eric Anderson, Orfeh and Renee Marino in PRETTY WOMAN THE MUSICAL, Photo by Matthew Murphy, 2018

The two that really do the magically balancing act the best are the two secondaries; the magnificently voiced Orfeh (Janis Joplin in Love, Janis – a show I now wish I had been lucky enough to have seen) as Kit De Luca and Eric Anderson (Mr. O’Malley in the film “The Greatest Showman“) as both the ‘Happy Man’ welcoming us to Hollywood with the question of the night, “What’s your dream?” and the gentile Mr. Thompson, manager of the Beverly Wilshire Hotel. Both do the hired job that is required, saying their classic lines like “Cindafuckin’rella“, by finding a way to add their own flavor to the gas that is driving the machine. When the two come together for “Never Give Up on a Dream“, Pretty Woman finds its center and its full-throttled drive, accelerating the musical quickly to a more heavenly place by the Hollywood sign. Jason Danieley (Broadway’s The Visit) as the slimy Philip Stuckey and Ezra Knight (Ivo Van Hove’s A View From the Bridge) as business man James Morse, with the very handsome Robby Clater (59E59’s Connected) at his devoted side, hit their marks and arrive on time like a well cared for Uber, clearly knowing what they are there to do.

1194_Eric Anderson, Tommy Bracco and Company in PRETTY WOMAN THE MUSICAL, Photo by Matthew Murphy, 2018

In a musical that rarely transcend the material in a way that ignites, there are a few exceptions, possibly residing in the elevator with the adorable Tommy Bracco’s (PAA’s The Hairy Ape) or in the fun dance number that replaces the seated dinner party of four. Sorry, there isn’t a “slippery little suckers” redo here, which is fine, because what this musical needs throughout is more detours like this moment.  Forgive me if I can’t quite name the song, as the joy resides elsewhere with most of the music, even when good, clearly not managing to attach itself solidly to the story,. It feels at best a “Long Way Home” to reality from the ridiculous “Rodeo Drive“, probably the silliest number I’ve seen on a Broadway stage in a long time both musically and staging. That we can give thanks to the simplistic and generic 80’s choreography by the usually much better Jerry Mitchell (PMP’s Half Time) who also directed this adaptation with the feeling of a caged animal, locked into a movie formula, doing the same old taught tricks, and looking for a financial treat.

Samantha Barks in PRETTY WOMAN THE MUSICAL, Photo by Matthew Murphy, 2018

It must be difficult to let go of something so beautiful“, says Mr Thompson about Vivian, played by the absolutely stunning Samantha Barks (Éponine in the West End and Universal Film’s Les Misérables), as the hooker with the heart of gold and a dream to escape to “Anywhere but Here“. She looks incredible, clearly not found on “976-BABE“, especially in that first iconic Hollywood Blvd streetwalker outfit made infamous by Julia Roberts, and sells that first song as strongly as she can.  Unfortunately, she isn’t given much wiggle or leg room in this star vehicle, as the map to the stars is so clearly defined by Julia Roberts and her iconic portrayal. Barks laughs big on its jewelrycase-snapping cue and delivers each and every line with determination and energy. “Mine’s broken” and it sort of is, as her performance feels more like a mimicking act, playing the role of Roberts playing Vivian, rather than finding her own class act somewhere inside. It made me dream of other actors who would have taken the iconic role and tweaked it to their liking, like how Jenna Russell and Annaleigh Ashford made Dot their own in the role made famous by Bernadette Peters in Sunday in the Park With George, or how Harvey Fierstein erased Divine from our minds when he played Edna Turnblad, the gravelly-voiced mother to Hairspray‘s Tracy.

Pretty Woman The Musical, Pictured Samantha Barks, Andy Karl, Allison Blackwell, Brian Cali, Company, Photo by Matthew Murphy, 2018

This slice of originality is what clearly is missing, but the musical looks shiny and solid, with a clearly inventive set by David Rockwell (Broadway’s Lobby Hero), replica-like costumes by Gregg Barnes (Broadway’s Tuck Everlasting), and slightly obvious spot lighting by Kenneth Posner & Philip S. Rosenberg (Broadway’s Hairspray). In a smartly centered box, the red-dressed night at the opera is especially well staged positioning itself with a non-traditional vantage point and an immersive dynamic flair. It sounds just as good as it looks as well, with glorious vocals cascading out of Allison Blackwell (Live From Lincoln Center’s Sweeney Todd), and strong music supervision, arrangements, and orchestrations by Will Van Dyke (Broadway’s Wicked) with sound design by John Shivers. But somehow, the team fails to locate moments of absolute surprise and personal uniqueness on this musical map, finding only numerous nostalgic recreations to marvel and smile at with recognition. I would have liked to say, that: “It was so good, I almost peed my Pants!” but I’m just not able. Never giving the leading lady an opportunity to present any originality within the framework of this movie-to-musical remake slows this piece down to a generic crawl, desperate to cry out in the immortal words of Vivian, “Big mistake. Big. Huge. I have to go shopping now.”

1208_Samantha Barks, Andy Karl and Company in PRETTY WOMAN THE MUSICAL, Photo by Matthew Murphy, 2018

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My love for theater started when I first got involved in high school plays and children's theatre in London, Ontario, which led me—much to my mother’s chagrin—to study set design, directing, and arts administration at York University in Toronto. But rather than pursuing theater as a career (I did produce and design a wee bit), I became a self-proclaimed theater junkie and life-long supporter. I am not a writer by trade, but I hope to share my views and feelings about this amazing experience we are so lucky to be able to see here in NYC, and in my many trips to London, Enlgand, Chicago, Toronto, Washington, and beyond. Living in London, England from 1985 to 1986, NYC since 1994, and on my numerous theatrical obsessive trips to England, I've seen as much theater as I can possibly afford. I love seeing plays. I love seeing musicals. If I had to choose between a song or a dance, I'd always pick the song. Dance—especially ballet—is pretty and all, but it doesn’t excite me as, say, Sondheim lyrics. But that being said, the dancing in West Side Story is incredible! As it seems you all love a good list, here's two. FAVORITE MUSICALS (in no particular order): Sweeney Todd with Patti Lupone and Michael Cerveris in 2005. By far, my most favorite theatrical experience to date. Sunday in the Park with George with Jenna Russell (who made me sob hysterically each and every one of the three times I saw that production in England and here in NYC) in 2008 Spring Awakening with Jonathan Groff and Lea Michele in 2007 Hedwig and the Angry Inch (both off-Boadway in 1998 and on Broadway in 2014, with Neal Patrick Harris, but also with Michael C. Hall and John Cameron Mitchell, my first Hedwig and my far), Next To Normal with Alice Ripley (who I wish I had seen in Side Show) in 2009 FAVORITE PLAYS (that’s more difficult—there have been so many and they are all so different): Angels in American, both on Broadway and off Lettice and Lovage with Dame Maggie Smith and Margaret Tyzack in 1987 Who's Afraid of Virginai Woolf with Tracy Letts and Amy Morton in 2012 Almost everything by Alan Ayckbourn, but especially Woman in Mind with Julia McKenzie in 1986 And to round out the five, maybe Proof with Mary Louise Parker in 2000. But ask me on a different day, and I might give you a different list. These are only ten theatre moments that I will remember for years to come, until I don’t have a memory anymore. There are many more that I didn't or couldn't remember, and I hope a tremendous number more to come. Thanks for reading. And remember: read, like, share, retweet, enjoy. For more go to


Ken Fallin’s Broadway: Spamalot



Here is the amazing cast of Spamalot. Christopher Fitzgerald as Patsy, James Monroe Iglehart as King Arthur, Leslie Rodriguez Kritzer as The Lady of the Lake, Ethan Slater as The Historian/Prince Herbert, Jimmy Smagula as Sir Bedevere, Michael Urie as Sir Robin, Nik Walker as Sir Galahad andTaran Killam as Lancelot.

I was so inspired I drew the whole cast.

To read T2C’s review click here.

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Ahead of the Broadway Opening of Lempicka The Longacre Theatre Is Showcasing Art Work By Tamara de Lempicka



The Longacre Theatre (220 W 48th St.), soon-to-be home of the sweeping new musical, Lempicka, is showcasing a curated selection of renowned artist Tamara de Lempicka’s most famous works. Eschewing traditional theatrical front-of-house advertising, the Longacre’s façade now boasts prints, creating a museum-quality exhibition right in the heart of Times Square. The musical opens on Broadway on April 14, 2024 at the same venue.

The Longacre’s outdoor exhibition includes works of Self Portrait (Tamara in a Green Bugatti) (1929), Young Girl in Green (1927), Nu Adossé I (1925), The Red Tunic (1927), The Blue Scarf (1930), The Green Turban (1930), Portrait of Marjorie Ferry (1932), Portrait of Ira P. (1930), Portrait of Romana de la Salle (1928), and Adam and Eve (1932).

Starring Eden Espinosa and directed by Tony Award winner Rachel Chavkin, Lempicka features book, lyrics, and original concept by Carson Kreitzer, book and music by Matt Gould, and choreography by Raja Feather Kelly.

Spanning decades of political and personal turmoil and told through a thrilling, pop-infused score, Lempicka boldly explores the contradictions of a world in crisis, a woman ahead of her era, and an artist whose time has finally come.

Young Girl in Green painted by Tamara de Lempicka (1927). Oil on plywood.