Fantasmic!329
Active Member
Yensid, was the soundtrack for sale at the theatre?
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BROADWAY'S TARZAN and JANE
- Thread starter BRER STITCH
- Start date
nicholas
New Member
Ok, I normally like to wait a day to review something so it has time to fully sink in, but I just got home and thought I would give it a go since I will be at work all day tomorrow.
Based on word of mouth, I went in expecting the show to be pretty bad. And perhaps that played in the show's favor, because I was pleasantly surprised. It's not an amazing show, by far. But it wasn't the disaster I was anticipating.
I think the biggest thing holding it back is the story just seems to die completely in places. It's mostly the book scenes that just die in the water.
Bob Crowley did a wonderful job at the scenic design. I really liked what he did. But there was something lacking when it came to his job as director. I wish they would have gotten someone with a bit more directing experience to helm the show and just let Bob stick to what he does best.
The first 10ish minutes of the show were spectacular, I thought. The shipwreck, being tossed around in the water and washing up on shore. The building of the shelter. The killing of the baby gorilla and Tarzan's parents. All were VERY well done. And visually beautiful.
Most of the new music was quite enjoyable and seemed to fit in with the pre-existing songs well, I thought. There were a couple of songs that were a snore, but overall, I liked the arrangements of all of them. Last fall when I attended the sales presentation, I fell in love with the new love duet, and fell even more in love with it tonight. It was even better than I remembered it, and got one of the loudest responses from the audience of the evening. It really is a gorgeous song. It will get a lot of play on my iPod, for sure. And my shower head will become very familiar with it as well :lookaroun:
The performers were overall wonderful. Josh Strickland has a beautiful pop voice. Almost impossible to believe it's real, lol. Jenn Gambetese (I've loved her for years) sounds wonderful. I was thoroughly impressed with Merle Dandridge, as Kala. I had only ever seen her as Joanne in Rent before, and thought this role really showed her off even more. She was wonderful. And young Tarzan was very cute, which is a high compliment since kids in musical usually annoy me to no end. lol
One odd thing I noticed was at the very end there was a group vocal of the lyric "Two worlds. One fa-mi-lyyyyyyy" followed by the Tarzan yell. And I am almost 100% sure it's the exact same soundbite they used at the end of Tarzan Rocks. Lord knows I've listened to it enough on my iPod to have it permanently implanted in my brain. Anyone know for sure??
Someone asked a couple of posts above if they CD was for sale at the theatre. The answer is no. They are offering a pre-order though, much in the way they did with AIDA, back when it first started performances and the CD was not yet available.
I don't want to compare it to the other Disney shows, because it really is its own entity, but since everyone will compare them all anyway, I may as well. It doesn't have the magic and charm of Beauty and the Beast. And it doesn't have the inventiveness and awe inspiring quality that Lion King has. But it still isn't BAD. It's just not as amazing as I know Disney could do. But it's still a nice evening of theatre with some really beautiful moments in it.
Ok. I can't come up with anything else to mention, so I'll stop. If you have any specific questions, ask away.
In somewhat related knews, they have started revealing the cast of Mary Poppins. Ooooh. Now THAT's a show I am excited about. Especially since they are importing Bert from London!
Based on word of mouth, I went in expecting the show to be pretty bad. And perhaps that played in the show's favor, because I was pleasantly surprised. It's not an amazing show, by far. But it wasn't the disaster I was anticipating.
I think the biggest thing holding it back is the story just seems to die completely in places. It's mostly the book scenes that just die in the water.
Bob Crowley did a wonderful job at the scenic design. I really liked what he did. But there was something lacking when it came to his job as director. I wish they would have gotten someone with a bit more directing experience to helm the show and just let Bob stick to what he does best.
The first 10ish minutes of the show were spectacular, I thought. The shipwreck, being tossed around in the water and washing up on shore. The building of the shelter. The killing of the baby gorilla and Tarzan's parents. All were VERY well done. And visually beautiful.
Most of the new music was quite enjoyable and seemed to fit in with the pre-existing songs well, I thought. There were a couple of songs that were a snore, but overall, I liked the arrangements of all of them. Last fall when I attended the sales presentation, I fell in love with the new love duet, and fell even more in love with it tonight. It was even better than I remembered it, and got one of the loudest responses from the audience of the evening. It really is a gorgeous song. It will get a lot of play on my iPod, for sure. And my shower head will become very familiar with it as well :lookaroun:
The performers were overall wonderful. Josh Strickland has a beautiful pop voice. Almost impossible to believe it's real, lol. Jenn Gambetese (I've loved her for years) sounds wonderful. I was thoroughly impressed with Merle Dandridge, as Kala. I had only ever seen her as Joanne in Rent before, and thought this role really showed her off even more. She was wonderful. And young Tarzan was very cute, which is a high compliment since kids in musical usually annoy me to no end. lol
One odd thing I noticed was at the very end there was a group vocal of the lyric "Two worlds. One fa-mi-lyyyyyyy" followed by the Tarzan yell. And I am almost 100% sure it's the exact same soundbite they used at the end of Tarzan Rocks. Lord knows I've listened to it enough on my iPod to have it permanently implanted in my brain. Anyone know for sure??
Someone asked a couple of posts above if they CD was for sale at the theatre. The answer is no. They are offering a pre-order though, much in the way they did with AIDA, back when it first started performances and the CD was not yet available.
I don't want to compare it to the other Disney shows, because it really is its own entity, but since everyone will compare them all anyway, I may as well. It doesn't have the magic and charm of Beauty and the Beast. And it doesn't have the inventiveness and awe inspiring quality that Lion King has. But it still isn't BAD. It's just not as amazing as I know Disney could do. But it's still a nice evening of theatre with some really beautiful moments in it.
Ok. I can't come up with anything else to mention, so I'll stop. If you have any specific questions, ask away.
In somewhat related knews, they have started revealing the cast of Mary Poppins. Ooooh. Now THAT's a show I am excited about. Especially since they are importing Bert from London!
mkepcotmgmak
Well-Known Member
Thanks for the review, Nick! Glad you had fun!
barnum42
New Member
But you get TWO musical kids to stomach in that show :lol:nicholas said:
Thanks for the review. Seems to be what I was expecting - nothing brilliant but not bad. Kind of my opinion of Poppins, but I went to that expecting something new and stunning for the millions poured into it instead of a straightforward good retelling of the film. Also I saw the pre-West End premiere, so it's probably they have tweaked it since.
Thanks for the review NICHOLAS! :wave:
I'm a little bit relieved, but still somewhat dismayed....
This thing just doesn't sound up to par, and for some strange reason it seems as if nobody stepped in to say so!
With sky-high ticket prices for many Broadway shows, I'm not sure it's fair to the Cast or the Public to release this production when (forgive me for quoting from your review, but it makes my point for me :lol: ) :
A) ...it wasn't the disaster I was anticipating
B) ...the story just seems to die completely in places
C) ...there was something lacking [with the direction]
D) ...there were a couple of songs that were a snore
E) ...it's just not as amazing as I know Disney could do.
That last one has the potential to be the deal killer! After all, if families are considering taking the kids to see a Disney show, they will certainly be expecting it to be amazing like BATB and LK!
I know it sounds negative, but the facts mentioned above cannot be discounted, and have been reported by many others.
I'm so glad the cast is the strong point of the show! Just goes to show how a bad book and direction can kill a show's potential. It's always nice to see on stage talent carry a show through the tough parts! Been there - done that! :lol:
Early reviews blasted the boring new "Phil Collins" music, but it's great to hear it sounds like they re-worked a few of them into "something wonderful".
I had heard a lot of debate about whether or not this show is going to be able to keep the attention of kids in the audience. Were there any in your show, NICK? Could you tell what their repsonse was?
In any event, we'll get to see whether or not the "Disney" name will be able to keep the ticket sales going or if families will simply return to see the Lion King again for the 4th time! :lol:
Thanks again for sharing!
(EDITED TO CORRECT MY HORRIBLE TYPING ERRORS!!! )
I'm a little bit relieved, but still somewhat dismayed....
This thing just doesn't sound up to par, and for some strange reason it seems as if nobody stepped in to say so!
With sky-high ticket prices for many Broadway shows, I'm not sure it's fair to the Cast or the Public to release this production when (forgive me for quoting from your review, but it makes my point for me :lol: ) :
A) ...it wasn't the disaster I was anticipating
B) ...the story just seems to die completely in places
C) ...there was something lacking [with the direction]
D) ...there were a couple of songs that were a snore
E) ...it's just not as amazing as I know Disney could do.
That last one has the potential to be the deal killer! After all, if families are considering taking the kids to see a Disney show, they will certainly be expecting it to be amazing like BATB and LK!
I know it sounds negative, but the facts mentioned above cannot be discounted, and have been reported by many others.
I'm so glad the cast is the strong point of the show! Just goes to show how a bad book and direction can kill a show's potential. It's always nice to see on stage talent carry a show through the tough parts! Been there - done that! :lol:
Early reviews blasted the boring new "Phil Collins" music, but it's great to hear it sounds like they re-worked a few of them into "something wonderful".
I had heard a lot of debate about whether or not this show is going to be able to keep the attention of kids in the audience. Were there any in your show, NICK? Could you tell what their repsonse was?
In any event, we'll get to see whether or not the "Disney" name will be able to keep the ticket sales going or if families will simply return to see the Lion King again for the 4th time! :lol:
Thanks again for sharing!
(EDITED TO CORRECT MY HORRIBLE TYPING ERRORS!!! )
nicholas
New Member
BRER STITCH said:
I'm glad you asked. I had intended to mention this, but had forgotten.
I noticed as I was leaving the theatre that there were a few children completely asleep being carried out by their parents. But these were mostly the younger children - 4 or 5ish.
I also heard one parent say something that sounded like "I think parts of it are too mature for the kids to get."
And there were some parts that seemed a bit scary for children, but overall, I think children will be able to handle it ok.
artvandelay
Well-Known Member
Tomorrow's the Opening Night, but I've heard Disney is not done tinkering with the show. After the Tony's, the creative team will come back to work on parts of the show.
Does Tarzan get the Tony nomination for Best Musical? Let's list the canidates:
Jersey Boys (almost a lock for Best)
Drowsy Chaperone
Tarzan
Lestat
Ring of Fire (closed)
Wedding Singer
The Color Purple
Woman in White (closed)
Jersey, Drowsy, and Color are locks for a nomination. Tarzan should get a nod over the rest.
A good performance on the Tony's would be great for Tarzan.
Does Tarzan get the Tony nomination for Best Musical? Let's list the canidates:
Jersey Boys (almost a lock for Best)
Drowsy Chaperone
Tarzan
Lestat
Ring of Fire (closed)
Wedding Singer
The Color Purple
Woman in White (closed)
Jersey, Drowsy, and Color are locks for a nomination. Tarzan should get a nod over the rest.
A good performance on the Tony's would be great for Tarzan.
artvandelay
Well-Known Member
nicholas said:
I haven't seen it. You didn't like Jersey Boys?
nicholas
New Member
I am literally one of only four people I've heard of who didn't like Jersey Boys. But not only did I not like it, I LOATHED it. It is one of the very few shows I wanted to leave during intermission, but on principle, I refuse to leave a show at intermission. I just hated it and was miserable the entire time.artvandelay said:
And it annoyed me to no end to watch an entire audience just EATING IT UP like it was candy. Just taking every lame joke and laughing at it as if it were the most brilliant pun on earth.
After two notes of a song, they audience would burst into applause, thus proving to me that they were applauding for the song recognition. Not for anything to do with what was or was not happening on stage at that moment.
And I am personally a firm believer in you have to earn a standing ovation. I think they are given out way too leniently these days. And before the final song was even over and before the lights had even gone down, the room literally leapt to their feet and were screaming. It was so disturbing. LOL
nicholas said:
AMEN!!!! :sohappy:
I TOTALLY agree! A standing "O" used to mean something!
Half the time I figure they have got to be standing only to get their coats on and run out, becasue the show certainly didn't earn an ovation!
People who don't get to the theater often may really believe it's custom to give one out.
I say it only encourages poor performance!!! :lol:
barnum42 said:
No, that happens over here too.
I guess I could give that practice a "pass" for those who won awards for their performance in the role or created a character for the stage if they truly "own" it.
I'm guilty of doing it myself. :lookaroun
Examples of my "poor judgement" include: Colm Wilkinson in "Les Miz", Carol Channing in "Hello Dolly", and Topol in "Fiddler". I suspect I even joined the crowd for Chita Rivera and Patti LuPone's entrances when I saw them live.
For this, I am truly sorry!
:lol:
nicholas
New Member
First review has been published. This one from the FinancialTimes.com (whoever they are) :lol:
Tarzan, Richard Rodgers Theatre, New York
By Brendan Lemon
Published: May 10 2006 17:30 | Last updated: May 10 2006 17:30
Just as some New Yorkers revile Disney for smoothing away the theatre district’s rough creative edges, so I suspect they will greet Jane’s buff-up of the ape-man in Tarzan, its latest Broadway musical, with polite revulsion. But in neither Edgar Rice Burroughs’s ageless tale, adapted by David Henry Hwang from a recent animated movie, nor in Disney’s chronicle is civilising the savage the whole story. The narrative of Tarzan – orphaned as an infant, raised by primates – is only one aspect of rainforest literature, and Disney’s live extravaganzas are not the only outposts in Manhattan’s theatrical territory.
The audience will not find the transcendent thrills of The Lion King. They will not even find the resonant spiritual grace of Aida. For this third of Disney’s screen-to-stage transfers set in Africa the emphasis is on decor. The book scenes are often awkward devices to get us from plot point to plot point, and the evening’s chief effect is that of an illustrated songbook, with the usual Disney family themes in place.
But what stagecraft! Bob Crowley, who directed as well as designed the sets and costumes, is a wizard, but he has met the challenge of the cramped Rodgers with more than his customary skill. Tarzan begins with a shipwreck, washes us up on a beach, then lowers us into a jungle habitat, where most of the show unfolds in front of a lush vegetative curtain.
If the effects are less magical than those of The Lion King, the technicians more than compensate with their high-wire trickery. Pichon Baldinu, of De La Guarda fame, did the aerial design, and all I have space to say is that we are a long way from Peter Pan.
The actors – Josh Strickland and Jenn Gambatese are Tarzan and Jane – are secondary, and Phil Collins’s songs are pretty much what you would expect. But Tarzan is the only show of the season that places us joyously in a world of wonder. 3 out of 5 stars
Tarzan, Richard Rodgers Theatre, New York
By Brendan Lemon
Published: May 10 2006 17:30 | Last updated: May 10 2006 17:30
Just as some New Yorkers revile Disney for smoothing away the theatre district’s rough creative edges, so I suspect they will greet Jane’s buff-up of the ape-man in Tarzan, its latest Broadway musical, with polite revulsion. But in neither Edgar Rice Burroughs’s ageless tale, adapted by David Henry Hwang from a recent animated movie, nor in Disney’s chronicle is civilising the savage the whole story. The narrative of Tarzan – orphaned as an infant, raised by primates – is only one aspect of rainforest literature, and Disney’s live extravaganzas are not the only outposts in Manhattan’s theatrical territory.
The audience will not find the transcendent thrills of The Lion King. They will not even find the resonant spiritual grace of Aida. For this third of Disney’s screen-to-stage transfers set in Africa the emphasis is on decor. The book scenes are often awkward devices to get us from plot point to plot point, and the evening’s chief effect is that of an illustrated songbook, with the usual Disney family themes in place.
But what stagecraft! Bob Crowley, who directed as well as designed the sets and costumes, is a wizard, but he has met the challenge of the cramped Rodgers with more than his customary skill. Tarzan begins with a shipwreck, washes us up on a beach, then lowers us into a jungle habitat, where most of the show unfolds in front of a lush vegetative curtain.
If the effects are less magical than those of The Lion King, the technicians more than compensate with their high-wire trickery. Pichon Baldinu, of De La Guarda fame, did the aerial design, and all I have space to say is that we are a long way from Peter Pan.
The actors – Josh Strickland and Jenn Gambatese are Tarzan and Jane – are secondary, and Phil Collins’s songs are pretty much what you would expect. But Tarzan is the only show of the season that places us joyously in a world of wonder. 3 out of 5 stars
nicholas said:
My new source for all things Theatrical!!! :lol:
Well....I think He didn't hate it!
That's good, right???
:lookaroun
nicholas
New Member
Hollywood Reporter Review...
Tarzan
By Frank Scheck
Bottom line: More a theme park attraction than a show, but a spectacularly staged one nonetheless.
Richard Rodgers Theatre, New York
(Runs indefinitely)
"Tarzan," the Walt Disney Co.'s latest theatrical excursion, has been staged by Bob Crowley, a designer with no directorial experience on his extensive resume. That's no accident because the show is not so much directed as designed, to within an inch of its life.
This musical version of the animated film is a gorgeous and imaginative production, the impact of which lessens considerably once the story and score kick in. While somewhat lacking compared to the long-running hits "Beauty and the Beast" and "The Lion King," it should please its target family audiences and seems destined to further increase the company's theatrical presence.
The visual and aural splendors of the production kick in immediately, with a series of dazzling stage images that have a significant "wow" effect. The effects begin with a shipwreck, followed by an underwater sequence in which the onstage figures are seen swimming furiously. Then the action shifts to a beach, which we seem to be viewing through an overhead camera shot.
Such lavishly designed images permeate the production, which, along with its surround-sound din, is certainly the most cinematic show ever seen on Broadway. Thankfully, Crowley provides an intense theatricality, much of it seemingly inspired by Cirque du Soleil, to go along with the special effects. Indeed, some of the best moments come from such relatively primitive styles as shadow puppetry.
Of course, it's the flying apes and title character that people have come to see, and the show doesn't disappoint. They fly through the trees, and sometimes over the audiences' heads, in thrillingly athletic fashion, accompanied by music that plays more like a soundtrack than a traditional theatrical score.
Indeed, this one of the show's main problems. Phil Collins' music, featuring numbers from the film as well as new ones written for this production, doesn't exactly leap off the stage. Sure, it includes some terrific songs, including "Two Worlds" and the Oscar-winning "You'll Be in My Heart." But it rarely displays the sort of theatrical energy or style that would lift it above the realm of background music.
The book by Tony-winning playwright David Henry Hwang ("M. Butterfly") is similarly disappointing. While no one was expecting great profundity in his retelling of the story of the boy raised by apes and his subsequent identity crisis upon meeting the very beautiful and human Jane (Jenn Gambatese), a little more wit and subtlety would have been nice.
Josh Strickland, a former "American Idol" finalist, is a perfectly acceptable Tarzan, and his lithe physique, shown off in nothing more than a loincloth, should appeal to the teenage girls who will no doubt constitute a large part of the audience. But while his singing and athleticism are fine, he displays little of the charisma necessary to make the character anything more than a cartoon figure.
Here, it's the performers playing the apes who deserve the biggest kudos. The booming-voiced Shuler Hensley delivers a powerful turn as their leader Kerchak, Merle Dandridge is very moving as Tarzan's loving simian mother, and Chester Gregory II sings and dances superbly -- not to mention often upside down -- as his best friend Terk.
"Tarzan" peaks toward the end of the first act, with such spectacularly staged sequences as Tarzan's battles with a ferocious leopard and a giant spider. The second act, concentrating on the love story, sags considerably.
Ultimately, whatever problems the show has, including the fact that it too often plays like a theme park attraction than a real Broadway musical, are not likely to matter to the crowds who will find attending it far easier than a trip to Disney World.
Tarzan
By Frank Scheck
Bottom line: More a theme park attraction than a show, but a spectacularly staged one nonetheless.
Richard Rodgers Theatre, New York
(Runs indefinitely)
"Tarzan," the Walt Disney Co.'s latest theatrical excursion, has been staged by Bob Crowley, a designer with no directorial experience on his extensive resume. That's no accident because the show is not so much directed as designed, to within an inch of its life.
This musical version of the animated film is a gorgeous and imaginative production, the impact of which lessens considerably once the story and score kick in. While somewhat lacking compared to the long-running hits "Beauty and the Beast" and "The Lion King," it should please its target family audiences and seems destined to further increase the company's theatrical presence.
The visual and aural splendors of the production kick in immediately, with a series of dazzling stage images that have a significant "wow" effect. The effects begin with a shipwreck, followed by an underwater sequence in which the onstage figures are seen swimming furiously. Then the action shifts to a beach, which we seem to be viewing through an overhead camera shot.
Such lavishly designed images permeate the production, which, along with its surround-sound din, is certainly the most cinematic show ever seen on Broadway. Thankfully, Crowley provides an intense theatricality, much of it seemingly inspired by Cirque du Soleil, to go along with the special effects. Indeed, some of the best moments come from such relatively primitive styles as shadow puppetry.
Of course, it's the flying apes and title character that people have come to see, and the show doesn't disappoint. They fly through the trees, and sometimes over the audiences' heads, in thrillingly athletic fashion, accompanied by music that plays more like a soundtrack than a traditional theatrical score.
Indeed, this one of the show's main problems. Phil Collins' music, featuring numbers from the film as well as new ones written for this production, doesn't exactly leap off the stage. Sure, it includes some terrific songs, including "Two Worlds" and the Oscar-winning "You'll Be in My Heart." But it rarely displays the sort of theatrical energy or style that would lift it above the realm of background music.
The book by Tony-winning playwright David Henry Hwang ("M. Butterfly") is similarly disappointing. While no one was expecting great profundity in his retelling of the story of the boy raised by apes and his subsequent identity crisis upon meeting the very beautiful and human Jane (Jenn Gambatese), a little more wit and subtlety would have been nice.
Josh Strickland, a former "American Idol" finalist, is a perfectly acceptable Tarzan, and his lithe physique, shown off in nothing more than a loincloth, should appeal to the teenage girls who will no doubt constitute a large part of the audience. But while his singing and athleticism are fine, he displays little of the charisma necessary to make the character anything more than a cartoon figure.
Here, it's the performers playing the apes who deserve the biggest kudos. The booming-voiced Shuler Hensley delivers a powerful turn as their leader Kerchak, Merle Dandridge is very moving as Tarzan's loving simian mother, and Chester Gregory II sings and dances superbly -- not to mention often upside down -- as his best friend Terk.
"Tarzan" peaks toward the end of the first act, with such spectacularly staged sequences as Tarzan's battles with a ferocious leopard and a giant spider. The second act, concentrating on the love story, sags considerably.
Ultimately, whatever problems the show has, including the fact that it too often plays like a theme park attraction than a real Broadway musical, are not likely to matter to the crowds who will find attending it far easier than a trip to Disney World.
nicholas
New Member
And the London Times
Tarzan
Benedict Nightingale at Richard Rodgers Theatre, New York
NO, DISNEY’S latest stage adaptation of a full-length cartoon is not another Lion King. Tarzan is not as visually daring or imaginatively thrilling as that particular take on the Dark Continent and, either in spite or because of Phil Collins being the composer, the theatre does not resonate with such striking African sounds.
But then it is not another Beauty and the Beast either. There are no counterparts of those dancing teacups and prancing corkscrews in Bob Crowley’s production. There isn’t a baby-ape picnic or a game of gorilla baseball in David Henry Hwang’s book. Indeed, there’s nothing off-puttingly twee in either man’s rejigging of the Me-Tarzan-You-Jane tale.
*
“It’s very green,” I was told by friends who saw the show before last night’s Broadway opening, and so it is, in both the literal and sociopolitical senses. Barely have Tarzan’s shipwrecked parents been spectacularly but temporarily saved from death by drowning than 40ft fronds surround the stage. And dozens of apes pop from this verdant Eden to fly, bound, somersault and embody simian camaraderie in Cirque du Soleil style.
Before long the child Tarzan, who spends his days doing gymnastics and hobnobbing with a rappa ape called Terk, is swooping across the auditorium, magically transformed into a lithe Josh Strickland as the man Tarzan. And, especially so after he has been expelled from the tribe by Shuler Hensley’s big, lumbering Kerchak, who knows all about destructive humans, he wonders why he’s so different from cast members whose bodies are covered with black frills. Enter Jenn Gambatese as Jane, complete with Victorian bloomers, Julie Andrews voice and manners, eccentric zoologist father and, to add tension to the plot, an evil American guide who itches to pot apes.
Here’s where Collins’s lyrics veer towards psychobabble. Already there has been solemn stuff about the importance of family and love (“we need each other, to have, to hold”), about trusting one’s heart and relying on fate, about the journey from boyhood to “walk-tall” adulthood. Now Tarzan is singing of “these emotions I can barely control” and learning “to be the man I am inside”, Jane is boggling at a chap so “at one with nature” and wondering why she “feels so complete”, and even Daddy is acknowledging her “symptoms of joy”.
But the compensation for the show’s emotional and ecological uplift, and sententious tributes to the unity of creation, is Crowley’s spectacle: gorgeous lotus blossoms, fluttering human butterflies, shadowy leopards with red eyes, an enormous spider to menace Jane, though sadly not the Great Flying Cockroach her father seeks. At times I felt like repeating what the show’s English visitors keep saying: oh my goodness.
Tarzan
Benedict Nightingale at Richard Rodgers Theatre, New York
NO, DISNEY’S latest stage adaptation of a full-length cartoon is not another Lion King. Tarzan is not as visually daring or imaginatively thrilling as that particular take on the Dark Continent and, either in spite or because of Phil Collins being the composer, the theatre does not resonate with such striking African sounds.
But then it is not another Beauty and the Beast either. There are no counterparts of those dancing teacups and prancing corkscrews in Bob Crowley’s production. There isn’t a baby-ape picnic or a game of gorilla baseball in David Henry Hwang’s book. Indeed, there’s nothing off-puttingly twee in either man’s rejigging of the Me-Tarzan-You-Jane tale.
*
“It’s very green,” I was told by friends who saw the show before last night’s Broadway opening, and so it is, in both the literal and sociopolitical senses. Barely have Tarzan’s shipwrecked parents been spectacularly but temporarily saved from death by drowning than 40ft fronds surround the stage. And dozens of apes pop from this verdant Eden to fly, bound, somersault and embody simian camaraderie in Cirque du Soleil style.
Before long the child Tarzan, who spends his days doing gymnastics and hobnobbing with a rappa ape called Terk, is swooping across the auditorium, magically transformed into a lithe Josh Strickland as the man Tarzan. And, especially so after he has been expelled from the tribe by Shuler Hensley’s big, lumbering Kerchak, who knows all about destructive humans, he wonders why he’s so different from cast members whose bodies are covered with black frills. Enter Jenn Gambatese as Jane, complete with Victorian bloomers, Julie Andrews voice and manners, eccentric zoologist father and, to add tension to the plot, an evil American guide who itches to pot apes.
Here’s where Collins’s lyrics veer towards psychobabble. Already there has been solemn stuff about the importance of family and love (“we need each other, to have, to hold”), about trusting one’s heart and relying on fate, about the journey from boyhood to “walk-tall” adulthood. Now Tarzan is singing of “these emotions I can barely control” and learning “to be the man I am inside”, Jane is boggling at a chap so “at one with nature” and wondering why she “feels so complete”, and even Daddy is acknowledging her “symptoms of joy”.
But the compensation for the show’s emotional and ecological uplift, and sententious tributes to the unity of creation, is Crowley’s spectacle: gorgeous lotus blossoms, fluttering human butterflies, shadowy leopards with red eyes, an enormous spider to menace Jane, though sadly not the Great Flying Cockroach her father seeks. At times I felt like repeating what the show’s English visitors keep saying: oh my goodness.