Fresh from Broadway, the first national tour of Disney’s Newsies came jumping and spinning in Orlando Dr. Phillips Center for the Performing Arts on the night of Tuesday, January 27, to a response from the enthusiastic audience. I was never a rabid fan of the 1992 film flop become cult favorite, and I only just arrived worm anthem “Seize the Day” series evicted from my brain after my last visit to Disneyland Resort, which serves as the Network theme song for the show small cars California Adventure. But I grew up in New Jersey minutes from the Paper Mill Playhouse, where the adaptation stage director Jeff Calhoun released before moving to Manhattan by a surprising success on Broadway.
So it was with great anticipation that I entered the world of Jack Kelly (Dan DeLuca, paper screen Christian Bale), a newspaper vendor who leads a revolt against Joseph Pulitzer editor (Steve Blanchard, embodying Ayn arrogance Randian) and the other powers-that-be at the end of 19th century New York. Jack, with the same passion personified by DeLuca in extra-mode Andrew Garfield angsty, were encouraged to organize a union by his brainy friend Davey (Jacob Kemp, well nebbishy); Medda Larkin (Angela Grovey, remembering a young Nell Carter), the matron mother of a burlesque theater; and Katherine (Stephanie Styles, plucking the epitome of proto-feminist), an ambitious journalist wanting to leave the society pages. The deal provides excess urchins Oliver-worthy, including Crutchie happily paralyzed (Zachary Sayle) and the younger brother Davey-show stealing, Les (Vincent Crocilla opening night, alternating with Anthony Rosenthal).
Alan Menken score, including “King of New York”, “Santa Fe”, “The world will know” and “once for all” of the film, plus some new songs composed, actually has less than a dozen songs in total, with several repeated several times. Lyrics Jack Feldman are more than helpful, especially on “Watch What Happens” Katherine Sondheim song patter-lite, but the book by Harvey Fierstein (based on Bob Tzudiker and Noni White screenplay) does not confront this truth tragic reality (or less) of history with the fire that was expected. Ironically, populist propaganda for labor is being produced by a company with a history of labor conflict over its theme parks; at least this tour is Equity, unlike Beauty and the Beast production in May. But perhaps undermine the working class while pretending to promote is precisely the point: The great “victory” held at the end of joy is that newsboys strike are returning to child labor, only slightly less screwed-on what they were at first.
On the other hand, perhaps the proletariat get the last laugh, thanks (unintentionally) to manage Calhoun and Tony Award-winning choreographer Christopher Gattelli insistence on defining each foot stomp, adjust the hat with eyes precision drilled world-class color guard. The whole cast is surprisingly energetic and athletic, tap dancing on tables and dragging on pieces of paper with polished mischief, but every time – musical or dramatic – is delivered with such emphasis that I could hardly breathe in my seventh row seat. Even giant Tinkertoy set Tobin Ost and projections Sven Ortel (adapted by Daniel Brodie) were overwhelming to the eye of the orchestra, although Jess Goldstein period costumes looked great up close. However, I am sure everything looked spectacular from the mezzanine, where the cast was directing most of his robbery.
If I sound a little bitter at the show, that’s only because I expected more; It is very entertaining but shallow, and apparently stitched together from most memorable musicals like Rent, Les Miz, West Side Story and Annie (Teddy Roosevelt even appears, playing the same role deus ex machina for Daddy Warbucks FDR ago). Still, Orlando term Newsies “is almost running out. If you can get a cheap ticket on the rear balcony, you have a better seat than the waves down in front.
Newsies The Musical 