Before Mamma Mia! there was Return to the Forbidden Planet. And before Jersey Boys there was Buddy. A jukebox bio-musical ahead of the trend, much like its title character, Buddy has been on the UK theatre scene in some form or another for an impressive 19 years, and shows no sign of stopping as the current West End run continues (having been planned as a six month tour stop and extending twice) while a new tour is set to embark.
Buddy, as the name implies, tells the story of prototype rocker Buddy Holly and his rocket-speed rise to fame and untimely death. In many ways, the show is quite a success: it covers the key time-span in Holly’s career (1956-1959) and makes the man quite likable despite portraying him as a stubborn, selfish workaholic who doesn’t eat and prevents his band from sleeping because something’s just not right with an arrangement. The show moves swiftly from hit to hit and event to event while keeping the audience inline with the turbulence of the times, ending the first act not when the Crickets hit the pop charts, but rather when the band managed to win over an all-black crowd at Harlem’s Apollo Theater despite being four of the whitest people to ever live in Texas in a funny, energetic concert sequence worthy of bringing down the curtain.
Unfortunately, Buddy also suffers from prototype syndrome: the second act is wildly uneven, as we follow Holly’s whirlwind marriage, departure from the Crickets, and fateful tour with the Winter Dance Party. It’s this last event which (tasteless pun unintended) brings everything crashing down. The final evening is dramatised in its full glory, including an extended MC-audience sequence, and the plot grinds to a halt for a 20-30 minute concert yet Holly’s death is passed over in a minute, showing a chair with his guitar, before summoning the undying spirit of rock via Chuck Berry’s “Johnny B Goode” and the mandatory encore.
The RZ doesn’t want to imply at any point that he’s ignorant of the fact that Buddy’s selling point is the music - it’s smack you over the head obvious, and people aren’t going because the plot is so intricate and advanced. That said, if the RZ wanted to see a tribute band he’d go to a flat out concert. And boy oh boy could the cast of Buddy put on a great concert. The entire cast double as musicians and make it work. There’s a lot of energy on the stage, and while the RZ would like to single out performers, the cast aren’t listed on the website and as always he didn’t buy a programme. In general, however, he didn’t find any weak points from the performance side.
The design, on the other hand, is weak. The cheap looking, obviously well toured and worn set pieces are wheeled in and out in a way that makes the automation in Jersey Boys even more stunning, even if the rougher methodology makes for a more “rock” atmosphere in line with the uncharted early days, gleefully countered by an eye-attacking set full of commercial images and brands from the era. A video screen for animations is smack dab in the middle of this backing and herein lies a problem: the animations are ultra-smooth, clearly created for video vs. film, and look too modern for comfort, particularly when a flash to a radio broadcast in England uses the current BBC logo and most of the typefaces shown are also too new to be accurate. The resulting effect is out of place and breaks period in an unpleasant and intrusive way.
Where: Duchess Theatre
When: M-Sa @ 19:30, W/Sa @ 15:00
How Much: £35-55
Concessions: Seniors can book matinees in advance for £25, student day seats for £17.50
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RZ Unofficial “Worth Paying”: £20.50 and you’d be foolish to pay more - Buddy is on tickets for a tenner every weekday and discounts are everywhere.
RZ Other notes: This production was originally supposed to be leaving the Duchess in March to make way for a transfer of Xanadu that subsequently fell through. Having seen the inside of the venue now, the RZ agrees that it would be the perfect home for the quirky American musical, but wonders if, come March 2009, the opportunity or desire will remain.
Showing posts with label Buddy. Show all posts
Showing posts with label Buddy. Show all posts
Tuesday, 15 July 2008
Friday, 29 February 2008
REVIEW: "Jersey Boys"
Oh Jersey Boys. You made this cynical musical fan admit that jukebox shows could be decent when he first saw you back in 2006, but that was a world of mindset away. Now, in your newer, bigger London home, you seem... different... somehow.
The script is still the same, American humour and all, and perhaps part of the issue is the obviousness of the foreign tourists laughing at the jokes when the locals are oddly silent (minus, of course, the Ringo joke at the end) or dealing with a theatre that holds 600 people more than in New York. Perhaps it’s the feeling of being in on the gig as the audience stumbles for the first time through Act One, still maintaining an old locomotive’s slow yet steady acceleration, and then watching as they facepalm one after another as the crowd begin to recognise the songs and make the association with the band whose name nobody can remember and whose material none shall ever forget.
Seriously, though, Jersey Boys has made it across the Atlantic with few hitches and speed bumps, and while it’s not a sellout - yet - the producers are counting on word of mouth to make this show a hit, and if last night’s first preview crowd is anything to go by, a hit they shall have. While some of the material hasn’t translated (and may be subject to change during previews - nothing was altered for this first performance), the core story of rags to riches, brotherhood, and the trials and tribulations of fame is universal. So are the songs, catchy as ever and more lush than when done live originally, thanks to the joys of pit singers and expanded arrangements. Des McAnuff’s kinetic Dreamgirls-inspired staging is still as fresh and energetic as it was in 2005, and the punters up front were more than happy to join the party, dancing along to the final number and singing along during the encore.
Of course, the heart and soul of any transfer is the cast. While Ryan Molloy is slightly more nasal and lacks the power John Lloyd Young did on Broadway, he’ll certainly grow into the role with time, and as he is starting with a six show week, is less likely to destroy his voice doing it. Glenn Carter is a pushy Tommy DeVito, but his accent needs work and he (like the production in general) lacks the edge and confidence of his American counterparts. Rounding out the group, however, are two solid and likely to be underappreciated performers: Philip Bulcock as the quiet Nick Massi, and Stephen Ashfield as the boyish, brainy Bob Gaudio (whose real life counterpart is in town supervising previews). The ensemble are already up to a solid, engaging level, but can still benefit from notes and refinements during the preview period.
Barring any unforeseen difficulties, Jersey Boys will undoubtedly be giving a sharp, exacting performance in time for the March 18 press night. In some ways, the RZ is thrilled: the American musical is riding high and reminding the West End that well crafted entertainment is still out there, but in others is depressed, wondering when a worthy new production will sprout domestically from the UK. In the meantime, keep the imports coming until one does.
Where: Prince Edward Theatre
When: M-Sa @ 19:30, Tu/Sa @ 14:30
How Much: £20-£40 through 18 Mar., £32.50-£60 after
Concessions: Students can get 50% off 60 min. prior and subject to availability (read: when it’s not well sold). Restricted view seats in the upper circle are £20 including some in the first few rows (yay for safety bars).
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RZ Unofficial “Worth Paying”: £42.50
RZ Other Notes: This is a hard one to assign the value to. On the one hand, it’s a smartly presented, well constructed crowd pleaser and every musical fan should see it once. On the other hand, Hairspray will stick with you longer and provide a more satisfying overall experience. If you’re British, the value listed is probably accurate - some of the material clearly went over peoples’ heads (perhaps they should watch The Sopranos more?). On the other hand, American tourists may find it well worth the full £60 just because it buys a decent seat, whereas a ticket of equal value in New York will set you back £175+ as a premium and £60 gets you a restricted side view or chopped off rear seat. Then again, the US tour almost certainly provides a better overall value with lower prices than either production and a reportedly excellent cast.
Continuing on the UK vs. US theme, the question raised in the RZ’s classroom, on the message boards, and in the minds of the producers really is whether or not the British public will take to the show enough to keep it running in the barn that is the Prince Edward. After going to last night’s preview, the RZ still isn’t sure, but is leaning towards the positive side: if word of mouth can get people to give in and buy tickets over the next three months, the show will be a hit and if the advance stays up for six months, will definitely stay put. On the other hand, if ticket sales are respectable but not mind blowing, the RZ could see Jersey Boys transferring to the Novello as the message boards predict, as it may maintain a healthy extended run in a smaller house (building the hype of a harder to get ticket as a result) while, say, Oliver comes in from TV casting to take the Prince Edward.
While the public will probably be converted to this show’s cause, the RZ is doubtful that the London critics will be equally entranced. Jersey Boys is well written and entertaining, but lacks the depth and layers that Billington, Spencer, de Jongh, etc. seem to require from anything that goes near a stage. While the local critics lack the power they do in New York, they are undoubtedly more demanding. The RZ also suspects that comparisons to Buddy, the biopic musical about legendary rocker Buddy Holly, will be unavoidable in the press.
The script is still the same, American humour and all, and perhaps part of the issue is the obviousness of the foreign tourists laughing at the jokes when the locals are oddly silent (minus, of course, the Ringo joke at the end) or dealing with a theatre that holds 600 people more than in New York. Perhaps it’s the feeling of being in on the gig as the audience stumbles for the first time through Act One, still maintaining an old locomotive’s slow yet steady acceleration, and then watching as they facepalm one after another as the crowd begin to recognise the songs and make the association with the band whose name nobody can remember and whose material none shall ever forget.
Seriously, though, Jersey Boys has made it across the Atlantic with few hitches and speed bumps, and while it’s not a sellout - yet - the producers are counting on word of mouth to make this show a hit, and if last night’s first preview crowd is anything to go by, a hit they shall have. While some of the material hasn’t translated (and may be subject to change during previews - nothing was altered for this first performance), the core story of rags to riches, brotherhood, and the trials and tribulations of fame is universal. So are the songs, catchy as ever and more lush than when done live originally, thanks to the joys of pit singers and expanded arrangements. Des McAnuff’s kinetic Dreamgirls-inspired staging is still as fresh and energetic as it was in 2005, and the punters up front were more than happy to join the party, dancing along to the final number and singing along during the encore.
Of course, the heart and soul of any transfer is the cast. While Ryan Molloy is slightly more nasal and lacks the power John Lloyd Young did on Broadway, he’ll certainly grow into the role with time, and as he is starting with a six show week, is less likely to destroy his voice doing it. Glenn Carter is a pushy Tommy DeVito, but his accent needs work and he (like the production in general) lacks the edge and confidence of his American counterparts. Rounding out the group, however, are two solid and likely to be underappreciated performers: Philip Bulcock as the quiet Nick Massi, and Stephen Ashfield as the boyish, brainy Bob Gaudio (whose real life counterpart is in town supervising previews). The ensemble are already up to a solid, engaging level, but can still benefit from notes and refinements during the preview period.
Barring any unforeseen difficulties, Jersey Boys will undoubtedly be giving a sharp, exacting performance in time for the March 18 press night. In some ways, the RZ is thrilled: the American musical is riding high and reminding the West End that well crafted entertainment is still out there, but in others is depressed, wondering when a worthy new production will sprout domestically from the UK. In the meantime, keep the imports coming until one does.
Where: Prince Edward Theatre
When: M-Sa @ 19:30, Tu/Sa @ 14:30
How Much: £20-£40 through 18 Mar., £32.50-£60 after
Concessions: Students can get 50% off 60 min. prior and subject to availability (read: when it’s not well sold). Restricted view seats in the upper circle are £20 including some in the first few rows (yay for safety bars).
-----------------------------
RZ Unofficial “Worth Paying”: £42.50
RZ Other Notes: This is a hard one to assign the value to. On the one hand, it’s a smartly presented, well constructed crowd pleaser and every musical fan should see it once. On the other hand, Hairspray will stick with you longer and provide a more satisfying overall experience. If you’re British, the value listed is probably accurate - some of the material clearly went over peoples’ heads (perhaps they should watch The Sopranos more?). On the other hand, American tourists may find it well worth the full £60 just because it buys a decent seat, whereas a ticket of equal value in New York will set you back £175+ as a premium and £60 gets you a restricted side view or chopped off rear seat. Then again, the US tour almost certainly provides a better overall value with lower prices than either production and a reportedly excellent cast.
Continuing on the UK vs. US theme, the question raised in the RZ’s classroom, on the message boards, and in the minds of the producers really is whether or not the British public will take to the show enough to keep it running in the barn that is the Prince Edward. After going to last night’s preview, the RZ still isn’t sure, but is leaning towards the positive side: if word of mouth can get people to give in and buy tickets over the next three months, the show will be a hit and if the advance stays up for six months, will definitely stay put. On the other hand, if ticket sales are respectable but not mind blowing, the RZ could see Jersey Boys transferring to the Novello as the message boards predict, as it may maintain a healthy extended run in a smaller house (building the hype of a harder to get ticket as a result) while, say, Oliver comes in from TV casting to take the Prince Edward.
While the public will probably be converted to this show’s cause, the RZ is doubtful that the London critics will be equally entranced. Jersey Boys is well written and entertaining, but lacks the depth and layers that Billington, Spencer, de Jongh, etc. seem to require from anything that goes near a stage. While the local critics lack the power they do in New York, they are undoubtedly more demanding. The RZ also suspects that comparisons to Buddy, the biopic musical about legendary rocker Buddy Holly, will be unavoidable in the press.
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