Tuesday, 13 Nov 2018
News

Poor King Kong. First of all, taken prisoner. Now trapped in a bad musical.

Christiani Pitts as Ann Darrow in "KING KONG". (Matthew Murphy) NEW YORK – If you intend to pay $ 150 or more to see the best Thanksgiving parade float, I have a show for you! Be warned, however: there are conditions. And not just the 2000-pound steel and carbon-fiber beast operated by a multitude of puppeteers, whose roar thrills the chevrons of the Broadway Theater. Because when you do not marvel at the impressive engineering that presided over the evening's performance, you will have to submit to what you feel like an equally animatronic contribution from the screenwriters and stage director-choreographer of the Kingway's New Musical The accursed Australian Breed Blend, staged by Drew McOnie, is the Broadway Amusement Park in all its transparency. This is a prime example of how investor-driven producing companies are now trying to create musicals they believe the audience wants, rather than what the artists want to create. It's a theater born on a spreadsheet. Like recent "Pretty Woman" releases on Broadway and "Beetlelejuice" in Washington, "King Kong," which officially opened Thursday night, appears as two acts of desperate cannibalization-inspired over. For reason, the giant puppet – designed by Sonny Tilders – gets the last call to the curtain in "King Kong". In the space of two and a half hours, the musical only identifies three other essential characters: the heartless viewer Carl Denham (Eric William Morris); Lumpy (Erik Lochtefeld), his precarious assistant, and Ann Darrow (Christiani Pitts), actress very critical and critical. Legacy of Fay Wray's coat, Pitts becomes friends with the monkey after a heartbreaking encounter on Skull Island. For the rest of the series, Ann fights to convince the ethic of having gained an inexpensive reputation by helping to trap King Kong. him on display in New York. Pitts sings the basics of the score, by "Eddie Perfect of Beetlejuice, with Marius de Vries and five others. His work here is impossible because the songs leave consciousness just after the notes are generated. In addition, the music is simply McOnie's aggressive and aggressive choreography for a group of hunters, sailors and show girls. Pitts, meanwhile, depicts a second banana mercilessly – sorry – for a machine. The mechanics of "King Kong" often imitate that of a film. The set and screen designer, Peter England, oversaw the installation of what appears to be a large video screen, depicting scenes from epic scenes, such as the beast scale of a skyscraper. Manhattan. These devices, with their immense size and jerky impact, give the impression of being intended to erase the impression of being in the theater, and not to improve it. These are triumphs of the console, not the rehearsal room.
King Kong is a 2,000-pound beast of steel and carbon fiber. (Matthew Murphy) Make no mistake. King Kong is big and scary, with a series of ferocious choppers, over-developed shoulders and hands that could crush SUVs. Its effect on you is real. The expressive eyes, however, make him more human than anyone else on stage. Ann tells him that he looks sad; I would say it's more worried. King Kong, music by Eddie Perfect and Marius de Vries; Jack Thorne's book. Directed and choreographed by Drew McOnie. Sets and projections, Peter England; creature design, Sonny Tilders; costumes, Roger Kirk; lighting, Peter Mumford; his, Peter Hylenski; air movement, Gavin Robins; orchestrations, Christopher Jahnke. About half past two. $ 89 to $ 399. At Broadway Theater, 1681 Broadway, New York.
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