Can a sometimes campy, often brilliant satire make the leap from the Public Theater to the Great White Way? It looks like audiences will find out this fall. Producers of Bloody, Bloody Andrew Jackson, the critically acclaimed emo-rock musical, with music and lyrics by Michael Friedman, and book and direction by Alex Timers, announced plans to transfer the show to Broadway with performances beginning September 21.
Part history lesson, part exploration into the psychology of power, Bloody, Bloody follows the life and times of our nation’s seventh, and, arguably, most controversial president. Known as the first populist president, Andrew Jackson was not born of aristocratic heritage, was opposed to a federal bank, and was responsible for the deaths of thousands of Native Americans as our young country expanded westward. Yet he graces our $20 bill. Is he a hero of the working class, or is he our country’s own Hitler? A question not easily answered, but one you will think about long after the last song is sung.
Mr. Friedman has succeeded in writing a clever score that captures the angst and conflict that Jackson and our nation face both in their respective childhoods and during his presidency. Mr. Timers’ book and direction walk a fine line between campy satire and thought provoking political commentary (I, for one, saw many parallels between Jackson and the presidencies of George W. Bush and Barack Obama). Benjamin Walker, as Andrew Jackson, is a stellar lead that is the centerpiece of a strong cast. So with all this praise, why do I fear a Broadway transfer might not work? The answer lies in the very culture that is Broadway.
Off Broadway often celebrates creative, quirky, outside-the-box, theatrical experimentation, providing more intimate spaces and lower ticket prices that allow more adventurous audiences a chance to explore and engage. Broadway often looks to the more lavish, commercially accessible, crowd pleasers (not that I am criticizing, as “Defying Gravity” is a frequent shower favorite). But can Bloody, Bloody compete with Wicked and Jersey Boys for the matinee and group sale crowd? Or will it go the way of other charming ([title of show]) and powerful (Caroline, or Change) transfers that did not fare as well as I had hoped? I am keeping my fingers crossed that it can and will have a long run.
Many Off Broadway transfers such as Next to Normal, Spring Awakening, and Rent found critical and commercial success with their pop-rock scores, and sensitive subject matter. Avenue Q proved that quirky can draw audiences of any demographic. And perhaps another intellectually stimulating triumph will encourage more mainstream producers to take risks with their work.
I think that it is exciting that these quirky musicals and different projects are given the opportunity to shine on Broadway. I doubt the same chance would be given in London's West End. I guess its all about promoting the shows to appeal to a mainstream audience or even better encouraging markets that traditionally wouldn't go to the theater. In particularly the youth market.
ReplyDeleteThis has worked well with Avenue Q and to some extent with Spring Awakening.
The last 2 paragraphs hit it right on the nail. People take risks with theatre. That is part of the appeal for everyone involved. It's daring. Scary. Dancers, musicians, opera singers, producers, directors ... they all take this under their wing out of fear and love. This is why the performing arts are still working. People are willing to take risks.
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