Matthew Murphy
Since the time recorded, Broadway critics will casually refute certain light-hearted musical comedy as “tired businessman performances.” Such trivia will include long-stem chorus girls, vast gags and appealing songs targeting office drones, they just want to relax ear bugs and eye candy. Dear reader, this critic is a tired businessman. Maybe we are all devastating crrolling and thumbsore, exhausted by the endless end time titles. So who wouldn’t be his best Marilyn Monroe on the iconic movie white dress, who would cheer up on the volcanic fanatic Robyn Hurder, or the long-legged and lively Caroline Bowman, stand out? How can you reveal the infinite changes of Brooks Ashmanskas on the Britchy Punch Line? Crush Is 100% escapist fluff, wow, do we need it?
Yes, this is the thin line between flop and crushing. Both involve speed and gravity, the former falls off the ground and the other bounces to success. A new musical from a gilded creative team and a cast that dies for commands. Unlike the short NBC series Crush Has been loosely adapted to dedicate this material to an audience who longs for it: the geek on Broadway Crush Open Producer Ended like the first scene prom. No surprise, because the show is brightly directed by Susan Stroman Producer Fame and star Ashmanskas basically ran away prom. All three titles revolve around the musical theatre’s turkey production or recovery.
Here, the disaster waiting to happen is about Marilyn Monroe’s dazzling biological tumor Bombshell. Book writer Bob Martin (A sleepy companion) and Rick Elice (Jersey Boy) Take us into the rehearsal studio, a small group of artists sweat Bombshell Prepare the technology and preview. These greasy professionals include Ashmanskas’ exhausted director Nigel; Krysta Rodriguez and John Behlmann are the husband and wife teams – Tracy and composer Jerry; and the current former actress is now mean producer Anita (Jacqueline B. Arnold) and her assistant Z Twit Scott (Nicholas Matos). Performance – Actors of the performance Bombshell Leaded by beloved star Ivy Lynn (the batsman) and her friend and long-time graduate student Karen (Bowman). Even one-third of the shadow heroine (Shadow Diva) fits in, assistant director Chloe (Bella Coppola), a former man and woman with a rafter-wrapped belt.
At first, there was a lot of charm, but not much drama. Lyrics and composers are nervous second guessers (new openings? More in-depth?), but that’s nothing new. Nigel has to massage himself and avoid flirting with the choir, and Anita complains about the budget. Permanently positive Karen doesn’t seem to make everyone feel unsatisfied with life and baking cupcakes. What could be the snake in Eden in Times Square? Cue Tracy lends Ivy to a book about Marilyn Monroe’s research in the actor’s studio, written by the ancient, sinister master Susan Proctor (Kristine Nielsen, Snatch Queen). Ivy devoured the book and searched for the author, his confidence in drugs like benzyl and thespian woo-woo squirmed his own. Soon, the black “witch” is destroying Bombshell Rehearse and turn the Ivy into a delusion that answers only “Marilyn”. Yes, in CrushSue Proctor is a villain.
Even for a transparent stupid musical comedy, it’s a ridiculous premise-the leader’s lady goes crazy but eventually regains wisdom. Still, you can forgive the book’s fragility to kick off so many top-notch comics shows, and Marc Shaiman and Scott Wittman have since Hair glue. These juicy and large protesters were on road tests on TV 13 years ago, but their jazz craft continued: a dual-port baseball “national pastime” with Karen’s blues lamenting “they just keep moving,” kander and kander and kander and eb-ebbish to sin nile of sin net liet let lay n”””””’. “Strangely, several songs took the form of pleading requests: “Don’t forget me,” “(Let’s start) Tomorrow night,” or the national anthem of fame promotion, “Let me be your star.” “It’s not “I want”, it’s “I want me.”
Writers should especially praise the nobleness of honor. (Theater kids, I am pardoned when I explain.) Surprisingly no Skin condition, when music happens in the scene In reality The scene is not a formal rest. The character turns on the radio and pop music to play: that’s Diegetic Music. The characters at the party pull out their guitars and sing: Same. About neat things Crush Yes, almost all musical numbers are reasonable because of a glimpse of rehearsals and previews. Except at the end, the reality of the world bent over and broke into a musical – as Nigel and others discussed making a musical about Marilyn Monroe’s musical. These people have never been in trouble in jokes, they don’t know how to milk.
Despite all the light and sincere laughter in the entertainment industry Crush Flawed. As mentioned earlier, the drawing engine is thin. The conflict between Ivy and Karen has been resolved too much: the settlement in the Ivy locker room may dig deeper, discovering the emotional center of sisterly emotions. Similarly, people missed the marriage and collaboration duet between Tracy and Jerry. Martin and Elice’s description of cheesy drinking and pill abuse edges. But it’s an amazing actor, Stroman has provided her most dazzling liquid show over the years, with great help from the fanatic, high-kick choreography of Joshua Bergasse. After years of burning Moulin Moon! Musical Elsewhere, three-time recruited Robyn Hurder finally got her born singing, dancing and acting starring role. Will be Crush Failed to your name? Who knows; how many tired businessmen do you have?
Crush | 2 hours and 30 minutes. A midfielder. |Imperial Theater | 249 West 45th Street | 212-239-6200 | Buy tickets here
