Pete's Dragon

"It's not easy to find someone who cares.
It's not easy to find magic in pairs."

Okay so I stretched the truth a little on this one.

Pete's Dragon was no masterpiece. It stopped Disney from making live musicals for many years but it had some catchy songs. The 2016 remake cuts the songs and apparently improves upon everything else. Disney tends to base their heroes journey around dead parents. In the original film Pete is fleeing from an abusive family bringing things closer to a Roald Dahl narrative.

Today's artwork is loosely inspired by the game Undertale. 

War Paint

War Paint's Chicago premiere has many things going for it: Two great stars, a score that plays to their strengths, and interesting source material. Reviews have been mostly positive. Unfortunately the current book lacks conflict.

Librettist Doug Wright has several challenges. The real Elizabeth Arden and Helena Rubenstein refused to meet with each other. Wright has to give his leads equal stage time while keeping them apart. In this he succeeds. Without a co-star to play off of the leads steamroll the supporting cast. The founders of Revlon get two juicy scenes but vanish before they can develop into true antagonists. Wright will need to beef up the feckless love interests or scheming shop girls so that Patti and Ebersole have someone to play off of.

The Chicago production has been extended through August 21. A Broadway transfer has yet to be confirmed but is certainly in the cards.

Now. Here. This.

Another shout out to Peanuts this week, inspired by Bowen's joke about Linus Van Pelt.

When Hunter Bell and Jeff Bowen wrote [title of show] they gave the character arcs to their friends Heidi Blickenstaff and Susan Blackwell. In the sequel, Now. Here. This., they reveal a little more of themselves. Jeff talks about his closeted youth and Hunter shares the self-loathing logic behind his comic persona. Meanwhile sweet Heidi and salty Susan recall childhood events that shaped their careers.

It helps to have seen [title of show]. The work provides context for these 40-somethings in various states of arrested development. Revues with plots are usually about romance (I Love You, You're Perfect, Now Change or Putting It Together). Now. Here. This. is focused on families, high school, and mid-life crisis. I hope Now. Here. This. isn't meant as Bowen and Bell's goodbye to musical theater. I'd like to hear what they come up with next.

Plain and Fancy

This week's posts have looked at teen rebellion channeled through rock music. The teens of Plain and Fancy rebel in a milder way. Hilda tries on some "fancy" lingerie and  Ezra drinks a bottle of scotch. They return to the Amish community after a quick visit to a carnival.

Plain and Fancy had a successful Broadway run and could prove a worthy candidate for an Encores concert.  The Round Barn Theatre at Amish Acres revives the show annually and the York Theatre Company has revised it for a small cast. Barbara Cook's ballad, "This is All Very New to Me," was the closest thing to a breakout ballad but the score has other lovely moments.

All Shook Up

Since I've posted two Elvis-themed musicals this week, I figured I'd add a third.

All Shook Up didn't bring much new to the table. Twelfth Night has already inspired a rock musical and a jukebox musical. Hairspray handled inter-racial teen dating better two years prior and Broadway critics were tired of jukebox musicals in 2005.

It is refreshing, and still rare, to see a bisexual leading man in a musical comedy. Chad's coming out ballad was played for laughs but the feelings were sincere. Unlike most adaptations his bisexuality didn't vanish when he learned Ed's true identity. The role wasn't great but it launched the career of Cheyenne Jackson. He would go on to better things.

Cry-Baby

Today's art gives a shout out to Archie comics and the kids of Riverdale High.

Cry-Baby is not John Water's most popular film but it had a point of view. The film sent up the movies of Elvis Presley and Johnny Depp's teen idol reputation.

"It’s a parody. Johnny Depp’s screaming girl fans were confused by the movie. They knew we were making fun of something, but they didn’t realize it was them." ~ John Waters

Divorced from this context the Cry-Baby musical was about... capitalizing on the success of the Hairspray musical. While they shared a book writer the inferior score was by Broadway newcomers Schlesinger and Javerbaum. The show received praise for Harriet Harris's arch line readings and Ali Mauzey's demented torch song. I also enjoyed the cynical finale, "Nothing Bad Is Ever Gonna Happen Again." It was an anti "You Can't Stop the Beat." The rest of the show was bland and it closed after 68 performances.

Schlesinger and Javerbaum went on to write the opening number for the 2011 Tony Awards: Broadway's Not Just for Gays Anymore.

Hairspray

The musical Hairspray has been compared to Bye Bye Birdie. Both shows feature:

• A teen idol on a 60's television show
• A mix of adult and teen romance
• A racist antagonist

But while Rose's struggle with racial prejudice is a small subplot in Birdie the struggle to integrate the Corny Collins show is front and center in Hairspray.

Protagonist Tracy Turnblad has three goals in act one. She wants fame, love and for her unhappy mother to like herself. She achieves all three before the first act finale. Then she pushes for integration and puts her success at risk. When Tracy loses her nerve in Act Two she's called out on it. The exchange is more powerful than anything in Bye Bye Birdie and should never have been cut from the 2007 film.

Maybelle: Hold it. Nobody ever said this was gonna be easy. If something's worth having it's worth fighting for. Tracy, why did you start all this in the first place? Was it just to dance on TV?
Tracy: No.
Maybelle: Was it so you could get the boy?
Tracy: No. I almost lost him because of it.
Maybelle: Then maybe it was just to get yourself famous.
Tracy: No. I just think it's stupid we can't all dance together.

Some have criticized the musical for taking itself more seriously than John Waters' 1988 film. John Waters himself has praised the musical, though he also admits:

I've certainly made more from Hairspray-the musical, not the new movie-than anything I've ever made in my whole life. I'm very thankful to Mark O'Donnell and Thomas Meehan, who were very fair with me and brought me into the deal from the very beginning. It has been a great experience.