| This succinct appraisal explains another of its hurdles: no one knows how to peddle the show, what its marketable feature(s) might be, or how to target a niche or broad(er) audience. It's being dropped into the season as if the exotic title alone does the needed world building (if anything, Tamara would've triggered more musical theater expectations). Somehow, the show's creatives have been so locked into its (re)development, they stopped asking themselves what it's about and what could be sold in 2024 in its narrative. Neither Evita nor Sunday in the Park with George, it seems closer to Kathie Lee Gifford's treatment of Aimee Semple McPherson, albeit with sexual adventure substituted for (grifting) religious fervor. As others opine, the show has no musical theater identity, certainly not in the wash of Euro-pop that we've listened to on playlists in an effort to guess whether it's worth the TDF admission. |
