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ROCKY, a musical version of the popular 1976 movie, opened last night on Broadway at the Winter Garden Theatre.
It stars Andy Karl as Rocky Balboa. The main supporting players are: Margo Seibert (Adrian), Terence Archie (Apollo Creed), Dakin Matthews (Mickey), Danny Mastrogiorgio (Paulie) and Jennifer Mudge (Gloria).
Creative Credits: Book by Thomas Meehan and Sylvester Stallone; music by Stephen Flaherty; lyrics by Lynn Ahrens; directed by Alex Timbers; choreography by Steven Hoggett and Kelly Devine; sets by Christopher Barreca; costumes by David Zinn; lighting by Christopher Akerlind; sound by Peter Hylenski; video by Dan Scully and Pablo N. Molina; special effects designed by Jeremy Chernick; wig and makeup design by Harold Mertens; orchestrations by Stephen Trask and Doug Besterman; music director, Chris Fenwick; vocal arrangements by Mr. Flaherty; music coordinator, John Miller.
How are the reviews?
Well, Broadway wags have to be buzzing this morning about Ben Brantley’s negative review in The New York Times, and wondering if it will put a further damper on tepid box office sales for the $16+ million tuner.
Otherwise the review picture is very mixed in all sorts of directions. If you are looking for the very positive, then check out below Chuck Darrow in the Philadelphia Daily News, Rex Reed for The Huffington Post and Terry Teachout in The Wall Street Journal.
For the opposite opinion, I suggest Jesse Green's lengthy review essay, "Why Rocky Doesn’t Fly Now," in New York Magazine's Vulture.
Almost all the critics enjoyed the show’s last 16 minutes (Mr. Brantley timed it) which is the spectacularly-staged boxing match between Rocky and Apollo Creed.
Star Andy Karl received a large number of rave notices.
Director Alex Timbers, choreographer Steven Hoggett and scenic designer Christopher Barreca got their share of raves and positive reviews.
The musical’s book (close to the movie’s screenplay) by Thomas Meehan and Sylvester Stallone was not so much loved. And the score by Lynn Ahrens (lyrics) and Stephen Flaherty (music) was the least favorite aspect of the show, generally panned even by reviewers who enjoyed the overall show.
BONUS LINKS:
-- Video: short montage from the production (Time 1:23).
-- PHOTOS: cast and creative celebrate opening night.
-- Cassie Carpenter covers opening night for the Daily Mail with plenty of photos.
Here then are links to and excerpts from 24 reviews of ROCKY:
Ben Brantley in The New York Times writes: “I feel obliged to point out that the show doesn’t really get started until 10:10 or thereabouts. That’s when a production that has seemed to be down for the count since the opening bars of its overture suddenly acquires a pulse. And the audience wakes out of a couch potato stupor — the kind you experience when you have the television tuned to an infomercial station — to the startling tingle of adrenaline in its blood. Of course, by that point, it’s all over but the fighting. . . . Every tool at the disposal of the creative team (and probably much of the show’s budget) is brought into play now for an all-out, multimedia assault on the senses that forces much of the audience to its feet. And I won’t say more, because why should I spoil the one real pleasure this show provides? The fight, for the record, lasts 16 minutes. With front orchestra tickets costing $143 (and you’ll want to sit close), that comes to about $9 per heart-racing minute. Such is the price of excitement on Broadway these days. Hey, it’s healthier than steroids.”
Joe Dziemianowicz in the New York Daily News writes: (*** out of 5 stars) “The Broadway musical “Rocky” is big-hearted, quick-fisted and predictable, but its last 15 minutes pack the punch of a heavyweight champ. . . . But to “go the distance,” to quote the fictional Balboa, a musical needs more than a stunning climax. Impressive performances and eloquent design work enrich this mid-1970s South Philadelphia story, but the by-the-numbers script and score alternately fight it. . . . The cast is terrific, especially the two leads. Andy Karl brings lovable gruffness, hunky vocals and pecs appeal. He is solid in the extremely physical title role. Margo Seibert turns “Raining,” a song about hard knocks, and the self-evident “Happiness” into high points. Thanks to these fine actors you root for Rocky, the romantic lug with pet turtles, and Adrian, the girl he coaxes out her shell. Wisely, the show saves the best for last — not the awesome boxing match, but the characters’ professions of love. After all, winning at love is what “Rocky” is about.”
Elisabeth Vincentelli in the New York Post writes: (*** out of 4 stars) “Something electric happens at the end of “Rocky” that gets theatergoers on their feet and writers scuttling for exclamation points: A boxing ring descends from the rafters, then glides into the orchestra! There’s hooks, punches and blood — and a Jumbotron! And then: “Adriaaaaaaaan!” Director Alex Timbers (“Bloody Bloody Andrew Jackson”) earns his keep right there. If you could win a Tony based on just 20 minutes, “Rocky” would be a shoo-in. Problem is, that finale is preceded by an hour and a half of less thrilling moments.”
Linda Winer in Newsday writes: “For a show that ends with the most impressive 20-minute boxing match ever seen in a Broadway musical, "Rocky" lacks conflict. Everyone is basically nice, even the gangsters, especially Andy Karl in a career-breakthrough performance as Rocky Balboa. Oh, there is plenty of punch in the finale of Sylvester Stallone's adaptation. But we wouldn't call that drama. . . . Then there is the music by Stephen Flaherty and lyrics by Lynn Ahrens -- generic soft-pop ballads and inspirational-power songs that fade against the welcome return of "Gonna Fly Now" and "Eye of the Tiger" from the movies. Speaking of the movies, Christopher Barreco's sets, with lots of moving scaffolds and banks of lights, give Rocky some museum stairs to climb. He also drinks raw eggs for breakfast and runs through the city in training montages. Actually the city is on video and he runs in place. So does the show."
Mark Kennedy for the Associated Press writes: “The puzzling show "Rocky" is both lovingly faithful to the 1976 film written by and starring Sylvester Stallone and one that seems to forget it's supposed to be a musical midway through Act II. It features a score by "Ragtime" veterans Stephen Flaherty and Lynn Ahrens that's intriguing but fails to really land a knockout punch. . . . The story by Thomas Meehan is so faithful to the film that you can predict the next scene a mile away. . . . The final fight — a spectacular piece of theater, to be sure — is so lifelike that it becomes surreal. We're watching a simulated fight lifted from a fictional movie but played inside an ornate Broadway theater. Which begs the question why this material screamed out to be a musical in the first place. The gritty, bloody world of 1970s boxing is not a natural fit for bursting into song — as some very awkward early moments in a gym here will attest. The creators seem to have acknowledged this tension and just abandoned the whole musical part. So the show ends with no rousing closing number, no speeches or dialogue, just a post-bout buzz. And a hangover from too many "Yo, Adrians."
Roma Torre for NY1 writes: “In boxing, all you need is one knockout. "Rocky" has two of them: Andy Karl's lead performance as the title pugilist and Alex Timbers' spectacular staging of the climactic final bout. But this is theatre, and two knockouts may not be enough. . . . In Act 2, the pace picks up, and [director Alex] Timbers manages some neat montage effects. It's visually impressive, but those last 15 minutes, a staging tour de force, are alone worth the ticket. . . . But whoa Andy Karl! Channeling Stallone's star-making performance, he is a marvel. As a triple threat actor, singer and boxer, no one works harder on Broadway. Pound for pound, he ranks number 1. Theatre purists may balk at the flaws, but give the fans a guy to cheer for and a thrilling fight to the finish, and "Rocky" is sure to emerge victorious.”
Elysa Gardner in USA Today writes: (**½ out of 4 stars) “This musical adaptation of the original 1976 film is actually at its most affecting when things quiet down a little, when [the writers] turn their attention to Rocky's less flamboyant, more awkward efforts as a man looking for love. . . . Under Alex Timbers' sensitive direction, Andy Karl keeps the swagger to a minimum, emphasizing instead the mix of stoicism and insecurity and the fundamental decency that drew fans to the "Italian Stallion" in the first place. Even his goofy jokes have an endearingly low-key, matter-of-fact quality. Rocky's and Adrian's struggles to articulate their feelings would seem to provide rich opportunities for Flaherty and Ahrens, and they do deliver one graceful song early on, “Raining,” in which Adrian expresses both her romantic yearning and self-doubt. But other numbers mix predictable sentiments with overheated rock accents.”
Peter Marks in The Washington Post writes: “The boxers go to their corners, for the start of the most exhilarating sports choreography you’re likely to experience in a theater. That’s the best news about “Rocky,” because these are by far the show’s best 15 minutes. It’s fortunate that they’re also the last 15 minutes, as they send you out of the Winter Garden pumped. What comes before is not a rush. Although the performances by Andy Karl and Margo Seibert offer authentic moments of tenderness, they are let down by Stephen Flaherty and Lynn Ahrens’s surprisingly tin-eared score, and the frequently movie-parroting book by Thomas Meehan and Sylvester Stallone. . . . The true standouts in support are choreographers Steven Hoggett and Kelly Devine, set designer Christopher Barreca and lighting designer Christopher Akerlind, who thrillingly turn 15 rounds in the Winter Garden into a match with flair in Times Square.”
Matt Windman in AM New York writes: (*½ out of 4 stars) “On film, its a slow-moving, delicate plot about two damaged loners from working-class backgrounds, benefiting from the quiet intimacy of the camera. Here, the story is overwhelmed by towering walls, shifting platforms, multimedia screens and heavy lighting. The flow is also disrupted by all the new ballads, which attempt to psychologically probe Rocky and his girlfriend Adrian but end up being poorly integrated, musically weak and unintentionally ridiculous. Rocky, being an inarticulate individual, was not meant to burst into song. Hokey one-liners are also loaded into the script. The highlight of the musical is undoubtedly the championship match between Rocky and Apollo Creed. Both the stagecraft and the fight choreography of this finale are stunning. Best of all, it uses musical underscoring instead of song. . . . In effect, "Rocky" is the new "Spider-Man," a similarly flashy and misconceived spectacle-musical that exists mainly to showcase an elaborate fight sequence as its finale.”
Robert Feldberg in the Bergen Record writes: “Yes, Rocky Balboa shouts out "Yo, Adrian!" But, like much else in the stage version of the film, it seems merely conscientious, a nod to the audience's memory of the 1976 movie, rather than having its own dramatic force. The show, directed by Alex Timbers ("Here Lies Love"), actually starts out promisingly. . . but the rhythm soon evaporates, and the rest of the tale is related in flat, uninspired scenes that seem chiefly concerned with touching all the film's bases. . . . You also get the feeling that director Timbers, working with a score that's no more than adequate, decided, at some point, to focus his energy on the show's physical possibilities. And then, at the end, "Rocky" becomes an all-out spectacle, with a finale that seems designed to wipe out the memory of everything that preceded it. . . .Though losing a split decision, Rocky achieves his goal of going the distance. It's a triumph that, theatrically speaking, is pretty hollow.”
Chris Jones in the Chicago Tribune writes: “Rocky," the massive theatrical spectacle that opened Thursday night at the Winter Garden Theatre, certainly is a broadly realized story told with bold punches and too much nonperiod video, and it has a reflective, low-key score that reaches too often for songs of nervousness, or of past regret, when it should also convey the red blood that courses through a fighter's veins. But there will be no question in theatergoers' minds as they leave the theater that they have experienced the thrill of a fight. Blows land. Blood seems to flow. Pulses race. A working-class hero survives for his girl. . . . It's hard to overstate the achievements of this concluding fight, which is the reason "Rocky" has the aroma of a long-term Broadway survivor.”
Terry Teachout in The Wall Street Journal writes: [“Rocky” is] an unpretentious slice of honest entertainment whose rock-'em-sock-'em finale will set the snobbiest of theatergoers to cheering in spite of themselves. . . . Alex Timbers's staging and Christopher Barreca's scenic design are the stuff Tony nominations are made of. The neon-and-graffiti mean streets of South Philly are portrayed with grim verisimilitude, but the glitz starts to fly as the climactic fight scene draws nearer, and the fight itself is a total-immersion, spare-no-expense stage spectacle. Since Steven Hoggett and Kelly Devine are jointly credited with the show's choreography, I assume that they deserve much credit for the potency of this scene, which is a rich and masterly synthesis of movement, music and design. So yes, "Rocky" is a straight-down-the-center commodity musical—but a damned fine one, maybe the best I've ever seen. A knockdown hit, in fact.”
Brendan Lemon in the Financial Times writes: (*** out of 5 stars) “The main reason to see this spectacle is the stately Act Two emergence, from the proscenium into the audience, of a boxing ring. What precedes that coup is, in Broadway terms, an unexpectedly intimate affair – a well-acted, occasionally dull and sometimes touching story of two wounded souls: Rocky Balboa, a piddling club fighter, and Adrian, a bespectacled clerk at a pet store.. . . “Eye of the Tiger” joins the cacophony preceding the climactic bout between Rocky and Apollo. And it becomes apparent that the musical “Rocky” subscribes to the method of “Mamma Mia!” – the previous piece of cheese to take over this theatre, the Winter Garden, for aeons – for ensuring a hit: wallop the audience for the final 15 minutes. The fight, which includes movement by choreographers Steven Hoggett and Kelly Devine, draws in the audience. By then, Andy Karl’s painstaking performance as Rocky disappears among the cheers.”
Sean Woods in The Philadelphia Enquirer writes: “In a soaring spectacle that has all the excitement of a prizefight, this heavyweight production wins over audiences by staying true to the source material, revealing its rich characters through song, and scenery that sets a new bar for stagecraft. . . . The script is not Shakespeare. The songs are not Rodgers and Hammerstein. But the set! The set is an all-timer that brings new possibilities to our concept of theater. I won’t spoil all of the surprises, but prepare to be wowed. This bold production takes a lot of risks, and while there are a few swings and misses, it lands most of its blows with force. The song “Southside Celebrity” is tough for any Philadelphian to enjoy, and will need to be rewritten if (when) the show makes it to Philly. The title bout could accomplish a more palpable climax by testing Rocky’s mettle with a knockdown. But we can forgive a few bumps and bruises on this inspired challenger fighting way outside his comfort zone.”
Chuck Darrow in the Philadelphia Daily News writes: “Rocky” is going to run for years on Broadway. How do we know? At a recent preview performance at Broadway's Winter Garden Theatre, the (seemingly sold-out) audience went wild when Andy Karl, playing fictional Philly palooka Rocky Balboa, drained two raw eggs into a glass. . . . Besides its many other charms, “Rocky” has to be the most "Philly" Broadway musical ever - a veritable love letter to us. As everything from the Spectrum, Rittenhouse Hotel and Frankford El to Snyder Avenue, St. Joseph's Hospital and WPVI (6ABC) are represented and referenced, they should probably include a glossary in the Playbill for non-Delaware Valleyans (interestingly, the word "cheesesteak" is never uttered).”
Thom Geier in Entertainment Weekly writes: (Grade = B) “The real trouble is that, unlike ''Eye of the Tiger'' or the snatches of Bill Conti's triumphal theme, Stephen Flaherty's bland new songs merely shadowbox at melody and never land the pop-rock punch they often seem to be seeking. Karl makes the most of his power ballad ''Fight From the Heart,'' and his duet with Seibert ''Happiness'' is pleasant enough despite her rather thin voice. But too many of Flaherty's songs play like missed opportunities, from Apollo's disco-tinged ''Patriotic'' to Mickey's nostalgic ''In the Ring.'' And Lynn Ahrens' lyrics, with clunky rhymes such as shoddy/body, are no help. Even so, Rocky delivers edge-of-your-seat thrills — particularly in the final 15 minutes — that underscore the fact that fans of boxing and live theater share some DNA: They love to see their stars battered, bloodied, but still standing.”
Jesse Green for New York Magazine’s Vulture writes: “Unfortunately, this two-character, black-and-white kitchen-sink drama, reminiscent of Paddy Chayefsky in his made-for-TV days, is trapped inside (and eventually strangled by) a garishly colorful bloated mess of an unmusical musical called “Rocky.” This was inevitable. From its inception, Rocky the musical was a cynical endeavor, driven not by artistic necessity or even plausibility but financial opportunity. (The movie Rocky and its five sequels, all written by and starring Sylvester Stallone, have grossed more than $1.5 billion, adjusted for inflation.) The notion of characters who can barely talk, who are by definition stuck in place, being made to sing and dance — in Philadelphia, yet — was so patently misguided as to invite ridicule. Bringing aboard some of the most highly regarded talents in the field to get around the problem only made it worse. These artists, trying harder and succeeding more than you might expect, have only exaggerated by contrast the contours of their overall failure. This was a job, if ever there was one, for Frank Wildhorn.”
David Rooney for Reuters and The Hollywood Reporter writes: “"Nobody leaves the theater humming the scenery." That old Broadway wisecrack, often attributed to Richard Rodgers, implies that no amount of eye-popping visuals in a show can overcome an unmemorable score. “Rocky” may be the exception. While the songs in this musicalization of the career-making 1976 Sylvester Stallone movie come and go without leaving much of an impression, the stage magic that director Alex Timbers and set designer Christopher Barreca work with the finale fight is so visceral and exhilarating that it sends the audience out on a high. Of course, having an indestructible story with underdog characters worth rooting for doesn’t hurt either. The Bottom Line: Dazzling staging of the climactic match trumps forgettable musical numbers.”
David Cote in Time Out New York writes: (**** out of 5 stars) “Sorry to cut to the chase (as it were), but you know what they say: Give them a boffo ending and they’ll forgive everything that came before. But here’s the thing: The rest of ‘Rocky’ doesn’t need too much forgiveness. The score is uneven and some characters sketchy, but the piece has tremendous heart and narrative drive. In the end, [director Alex] Timbers achieves a splendid balance of epic sweep and gritty intimacy: storytelling with emotional punch and visceral thrills. . . . But this is still a musical, and the score is a problematic element. Composer Stephen Flaherty and lyricist Lynn Ahrens (Ragtime) have an admirable 30-year track record, but one wishes a punchier, down-and-dirtier team were behind the songs. . . . Andy Karl delivers an utterly winning central performance: a sexy, sweet and touchingly self-doubting Rocky.”
Perez Hilton for PerezHilton.com writes: “Spider-Man” is out and “Rocky” is in! However, the similarities between these two shows are many! We saw “Spider-Man” and we really enjoyed it. We enjoyed it so much that we saw it a second time. We just saw the new musical based on the iconic Sylvester Stallone movie and we really enjoyed it. We enjoyed it so much we would see it a second time too! And, just like “Spider-Man,” “Rocky”on Broadway features dazzling production and an underwhelming songs from an iconic musical act. . . . Major kudos and credit to director Alex Timbers for his vision and executing all these elements so flawlessly! Ticketbuyers are definitely getting their money's worth with “Rocky” Big show! Big production! And a BIG cast, lead by Andy Karl in the title role. It is all but assured that Karl's FANTASTIC performance will ensure him a Tony nomination, and it will be hard to find another actor more deserving of that win! . . . He IS “Rocky.” And “Rocky” is a must-see, even if you won't go home and buy the original cast recording after.”
Rex Reed for The Huffington Post writes: “Rocky” repeats history with a sexy, dynamic, three-dimensional flesh-and-blood star named Andy Karl. He's the biggest thing since Hugh Jackman. . . . What I must tell you--and the best reason of all to see the musical--is that you have never experienced anything on a Broadway stage like the championship bout that brings the show to a screaming, tumultuous finale. . . . I can still hear the stomping, cheering "Bravos" ringing in my ears like Democrats on Election Night. People who diss “Rocky” because it's old-fashioned and predictable are right. It's sort of a construction worker's “Raging Bull” with Kleenex. But the people who love “Rocky” are right, too, because it's likeable and decent in a basic way that makes you glow. You go away from “Rocky” hugely entertained, with a song in your soul and hope in your heart."
Robert Hofler for The Wrap writes: “The problem with the “Rocky” musical is that Stallone's script was pretty sodden even back in 1976. It's never a good sign in a stage musical when the most rousing numbers are not written by the credited songwriters, in this case Stephen Flaherty and Lynn Ahrens for their Broadway version of “Rocky.” . . . The show's Rocky is a bright spot in the production. Andy Karl has been in and out of a lot of Broadway shows, often as a replacement. Unlike Stallone's performance, there's nothing sentimental about Karl's Rocky, except the dialogue he's been stuck with. He's tough, resilient and displays a real macho edge, which isn't always the easiest task for a boxer singing on stage in a big Broadway musical. Spoiler alert: “Rocky” comes to life briefly at the end, not for the big fight but the placement of the boxing ring in the middle of the theater. . . . At last, after two lackluster hours, “Rocky” finally delivers suspense, excitement, drama!”
Robert Kahn for NBC 4NewYork writes: “In the case of “Rocky,” let’s begin at the end. The electric final 15 minutes of the new musical based on Sylvester Stallone’s small-town Philly boxer are likely to inspire a heavy outpouring of adjectives: Game-changing. Jaw-dropping. Astounding. All are fair. . . . “Rocky” owes its success to three individuals. Foremost is star Andy Karl [whose] optimistic fighter is a lovable goofball whose job as muscle for a local loan shark is compromised by his unwillingness to break thumbs. How awesome is Andy Karl? He sings and does chin-ups at the same time. Director Alex Timbers (“Peter and the Starcatcher”)—who, lest we forget, was born two years after Stallone’s 1976 film won the Oscar for best picture—and choreographer Steven Hoggett (“Once”) have created fight scenes that are athletic and showy.”. . . The music and lyrics by longtime collaborators Stephen Flaherty and Lynn Ahrens are serviceable, if humdrum. . . . For whatever its flaws, “Rocky” the musical wins with a knockout final scene that is, guaranteed, unlike anything you’ve seen in the theater.”
Marilyn Stasio in Variety writes: “Whatever your expectations going into “Rocky,” you come out rocking the technology. No mystery about where the $16.5 million capital investment went in this musical iteration of the 1976 movie that made an iconic hero of Rocky Balboa. Stephen Flaherty and Lynn Ahrens no doubt took their pittance for scoring the book by Thomas Meehan and Sylvester Stallone. But the real coin for helmer Alex Timbers’ extravagant production went into the spectacular projections, sound and lighting effects, and into the scenic showpiece — a regulation-size boxing ring that puts the audience ringside for the big fight. Looks like it was worth every penny. . . . The fight clocks in at about 20 minutes, but by that time, everyone in the house is so caught up in the spectacle that nobody’s counting.”
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