Suckwatch: A Tale of Two Cities - Follow-up

A Tale of Two Cities had its opening night down in Sarasota last weekend. Thankfully, I wasn't there. But others were! And here's what they thought. They were largely kinder to the show than I expected, but it's not off Suckwatch until I say so. Recognize.

Stage Notes was there, and called it "A Tale Worth Telling". "The work’s not yet done, but this Broadway-bound musical is on the right path, thanks especially to a handful of stirring Jill Santoriello songs, Michael Donald Edward’s brisk staging, Tony Walton’s ingenious scenic design and a strong company led by James Barbour, pouring his soul into a towering performance as Carton."

Local paper The Herald-Tribune said the show, "needs work to make it more dramatically and emotionally compelling, mostly in the first act... There is much to praise about the show, and it certainly will impress Asolo audiences. But it needs more punch before it is ready for Broadway."

Variety was relatively kind to the musical, acknowleging it's many similarities to Les Miserables (including an act one closer titled "Until Tomorrow" - not kidding.) "Santoriello has crafted some pretty melodies and a few comic songs (at least one of them unnecessary) matched with lyrics generally better at revealing character traits than advancing the story. But in both script and direction, the show needs more dramatic tension and greater emotional punch."

Everyone seems in agreement that James Barbour and Natalie Toro are turning in top-notch performances, and that it's a fairly compelling story, if one that we've, uh, seen before. I've definitely witnessed director Michael Edwards making magic out of lacking material before. But can Broadway really stomach another epic drama musical about love and redemption, set against the backdrop of a war in France?

Variety sticks it to Francesca Zambello

David Rooney is really taking director Francesca Zambello to task in his review of The Little Mermaid. Nobody gets off easy in his 10-lashings-for-poor-design review, but he really seems to have it in for Zambello. Check out my little mashup of his mentions of the acclaimed opera director:

Zambello has allowed emotion, charm and enchantment to be drowned in a sea of bewilderingly over-stylized designs... The joyous calypso frolic "Under the Sea" and gloriously romantic "Kiss the Girl" are wonderful songs but Zambello has compromised both with chaotic presentation... Despite Zambello's much-quoted creative choice of "no water, no wires," it's the simple wire work of Prince Eric's near-drowning in the storm or Ariel's underwater transformation from mermaid to human that come closest to engendering a sense of wonderment... if Disney Theatrical chief Thomas Schumacher's aim in enlisting Zambello and team was to develop another eye-popping theatrical event to transcend the kid-fare label, he needs to keep fishing.

Both Francesca Zambello and Asolo AD Michael Edwards (see Suckwatch: A Tale of Two Cities) are opera directors turned theater pros, and I'm glad to see Rooney hinting that a strong background in opera doesn't make someone a great director of musicals. The mediums have vast differences, and I'd hate to see a stylistic return to the 1980's because a new generation of opera/theater directors rely on sweeping, epic, gigantic productions instead of quality, character-based storytelling.

P.S. Check out Zambello's own website for a lot of pics of her productions. The photo gallery is really gorgeous, so it's not so hard to see why Disney was smitten. But is she really the best person to direct the upcoming First Wives Club musical?? Not so sure, Frannie, not so sure.