Sara Bareilles is telling Broadway critics to “f–k” off after attending the opening night performance of the new musical Lempicka.
27.03.2024 - 00:33 / variety.com
David Benedict At the start of the second half of Ivo Van Hove’s production of his own musical version of John Cassavetes‘ ultra-Seventies backstager “Opening Night” — with music and lyrics by Rufus Wainwright — the words “the aftermath” (in fashionable lower case) appear on the large screen that dominates the stage. The trouble is, the preceding storytelling has been so muddy, and the emotional temperature of the staging so leadenly unchanging, that audiences may well be asking, “The aftermath of what?” Following the movie on which it’s based, the show follows the onstage/offstage life of Myrtle (Sheridan Smith), a leading actress who is as terrified of ageing as she is of the demands placed upon her as a star.
She’s returning to Broadway in an experimental play and we watch her creating and navigating disasters everywhere from her dressing room to the rehearsal space, all the way up to opening night. But where Cassavetes artfully constructed Myrtle and built an intriguing blur between what is happening in her head and in the play being rehearsed, the blur here topples into a mess.
Some of the fault for that is due to the decision to add an onstage crew, supposedly filming a documentary about the show and whose fierce close-up work is splashed on the screen. One can, of course, weave multiple plot strands together to surreal but emotionally dazzling effect.
But that requires a directorial clarity that’s lacking here, and the underwritten book and unfocused staging means the combination merely blurs. We’re insufficiently engaged to care.
Even the early, pivotal death of Myrtle’s desperate young fan, Nancy (Shira Haas), who crucially comes back to haunt her, fails to register properly. Given Van Hove’s rightly garlanded
.Sara Bareilles is telling Broadway critics to “f–k” off after attending the opening night performance of the new musical Lempicka.
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