The whole purpose of the trip was really to catch up with the big Broadway musicals that had been making waves like The Outsiders. The sad fact is that the majority of these will never be seen in Australia on this scale, so I was trying to soak as much in as I could.
Water For Elephants (Imperial Theatre) ★★★½
Book by Rick Elice. Music & Lyrics by PigPen Theatre Co. Based on the book “Water for Elephants” by Sara Gruen.
I’m not a fan of either the book or film of Water For Elephants but the Broadway show promised some impressive acrobatics and animal puppetry, so thanks to a TodayTix sale I nabbed seats to see the spectacle.
And what a spectacle it was! In some ways it’s too much of a spectacle leaving you unsure where to look as things are happening in every corner of the stage. Watching the cast assemble a circus tent in real time, while performing tricks was impressive and the extremely likeable ensemble evoked the tight knit community of circus performers. The animal puppetry was equally impressive, using a mix of puppetry and costumes to bring the beasts to life. Cleverly, they tease the reveal of the stories eponymous elephant letting it assemble slowly. The final result however is less than the sum of its parts – impressive no doubt, but not the showstopper it feels like they wanted.
Musically the show is… nice but not exceptional. Director Jessica Stone manages the action sequences well using lights and “stop motion” to hint at action that would never look convincing on stage.
Overall, it’s a solid, fun show that served as an early “warm up” for my trip.
The Outsiders (Bernard B. Jacobs Theatre) ★★★★★
Book by Adam Rapp & Justin Levine. Music & Lyrics by Jonathan Clay, Zach Chance & Justin Levine. Based on the novel “The Outsiders” by S.E. Hinton and the film by Kathleen Rowell.
After winning the Tony for Best Musical in 2024, The Outsiders was high on my list because I was very skeptical about how they could turn the story into a Broadway musical without losing its grit. And yes, some of the book’s edges have been worn off for practical reasons but the stage show feels more grounded and earthy than most musicals do. A cast of soulful singers with unique voices save it from the potential tackiness I was expecting.
The show has received strong write ups for its convincing stage violence, and it is quite brutal by musical theatre standards. A stage covered in gravel makes each movement feel more propulsive and clever lighting hides key moments.
But it’s the cast that makes this work. Brody Grant reminded me of a young Shia LaBeouf (before he got… weird) as Ponyboy Curtis. Jason Schmidt is a sexy charmer as his brother Sodapop, and Brent Comer’s older sibling Darrel gave midwestern strength under pressure. One real surprise was Emma Pittman as Sherri Valance, a role that could easily have been simply “the girl” but her excellent vocals and performance elevated it.
The Outsiders was basically brilliant and deserves all the acclaim. I’ll admit I was a flood of tears by the end.
The Great Gatsby (Broadway Theatre) ★★★★
Book by Kait Kerrigan. Music by Jason Howland. Lyrics by Nathan Tysen. Based on the novel “The Great Gatsby” by F Scott Fitzgerald.
Jeremy Jordan and Eva Noblezada head up this lavish production that feels very “core Broadway”. Impressively grand sets that blend animation screens with physical elements letting the scenes feel expansive, a large all-singing all-dancing ensemble with classic big ballads and fun up-tempo dance numbers and cars, yes fully operational cars on the set. I wasn’t initially too fussed about seeing it (it was on my “maybe” list) but good words from a few trusted friends pushed me over the line and I really enjoyed myself.
Jordan’s Gatsby is especially quirky which was a refreshing touch and helped to justify his extreme behaviour. Noblezada was on fine form, while the character of Daisy didn’t feel as suited to her as her role as Eurydice in Hadestown did.
A fun but frivolous show, my only real complaint was the complete straight-washing of the character of Jordan Baker (played charmingly by Samantha Pauly). No more lesbian golfer but 100% a love interest for Nick Carraway (Noah J. Ricketts). Oh well, that’s the thing with “coded” characters, they can be read either way.
Once Upon A Mattress (Hudson Theatre) ★★★
Original Book by Jay Thompson, Marshall Barer and Dean Fuller. 2024 Book by Amy Sherman-Palladino. Music by Mary Rodgers. Lyrics by Marshall Barer. Based on the fairytale “The Princess & the Pea” by Hans Christian Andersen
I went to Once Upon A Mattress for one reason and one reason only… to finally see Sutton Foster in a show. I’d previously spent a lot of cash to see The Music Man with Foster and Hugh Jackman only for Foster to be off that particular performance. And wouldn’t you know it… she was unexpectedly off for this performance as well! I was furious!
Once the sting of disappointment faded and I settled into the fact that I am simply cursed to never see Sutton Foster on stage, I relaxed and watched the show. It’s cute. It’s a nothing. It’s the kind of show you take the whole family to because it’s twee and won’t offend anyone. Michael Urie plays Prince Dauntless like a cartoon character (and does so very well). The new book by ‘Gilmore Girls’ creator Amy Sherman-Palladino is nice. Other than that the show left next to no impression on me at all.
Cultural Binge 
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