Tag: based on the stage musical

MERRILY WE ROLL ALONG (2025) – Review

During this cold, hectic holiday season, what could be more invigorating than taking in a big Broadway musical hit? But there’s no need to hop on a plane to the Big Apple, this recent smash is at your local multiplex (or at a big “single screen”, if you’re so fortunate). It’s not a new idea, since Disney tried it five years ago with HAMILTON. The pandemic scrapped plans for a wide theatrical release, so it premiered on their streaming app (however, a few months ago it enjoyed a brief big-screen run). Well, now Sony Classics is behind a filmed version of a recent (it was shot last year) multi-Tony awarding winning revival of a 1981 work from a giant of musical theater. However, this didn’t “click” on the Great White Way nearly 45 years ago, though it’s grown in stature with his fans (even getting a nod in LADY BIRD). This one worked, perhaps due to a bit of “magic” from the star of a huge film franchise. Will the same thing occur when the (movie) theater curtain rises for MERRILY WE ROLL ALONG?


The show’s format sets it apart, as the story is told in reverse, going back in time from its big splashy opening number in 1976. We’re in a swanky beach house in Malibu to celebrate the opening of a new hit movie, and its “buzzed-about” producer, Frank Shepard (Jonathan Groff). Everybody’s feeding his ego, except for an old friend turned theater critic, Mary Flynn (Lindsay Mendez). She taunts him over his split with another pal, being a ‘sell-out” to his musical theater roots, and drinks too much before existing. The plot shifts to 1973 and a disastrous TV interview with Frank and his former songwriting partner, Charley Kringas (Daniel Radcliffe), which leads to the aforementioned “bust-up”. We also get to experience the second Mrs. Shepard, stage diva Gussie Carnegie (Krystal Joy Brown). The following scenes are set 3 to 4 years in the trio’s history, with Shepard and Kringas becoming Broadway hit-makers with producer Joe Joesphson (Reg Rogers), the first hubby of Gussie. We also meet Frank’s first wife, Beth (Katie Rose Clarke), as the two fall in and out of love while becoming the parents of Frank Jr. (Max Rackenberg). The “march of time” backtracks all the way to 1957, when the trifecta of Mary, Frank, and Charley begin their then-optimistic journey to become “old friends”.

Of course, that “magic maker” I mentioned earlier is the very talented Mr. Radcliffe, who becomes somewhat of a Broadway staple with another revival of a classic (he did succeed in “How to Succeed in Business Without Really Trying” several years ago. Though he’s more of a “featured player”, Radcliffe has plenty of moments to shine as the snarky lyricist who feels discarded. This is really accented in his show-stopping number, the acerbic “Franklin Shepard, Inc” (the guy can really handle those “tongue-twisters”). So, who’s the lead, then? According to the Tonys, it’s Groff as the “morally-challenged” Frank whose soul seems to chip away with every year, giving Groff a chance to go from dark to light with each “rewind”. His big number is probably “Growing Up” as Frank gets a “wake-up call” after his showbiz dreams. The most dramatic role is probably Mary, offering Mendez the chance to hurl barbs and burns, while giving us a glimpse into her heartbreak as she pines for the clueless Frank. And her “pipes” get a great workout with “Now You Know” along with several duets and tunes with her two pals. The entire ensemble is great with outstanding work by Brown as the vampy Gussie (doing high-kicks in a sparkly gown), the funny-turned-tragic Rogers as the schlubby cynical Joe, and the gifted physical comedian and superb singer Clarke as the sweet, sorrowful Beth.


These stage pros are guided by Maria Friedman who also directed the London West End revival that spawned this US company. The pacing is superb, with performers promptly establishing the changing years, while arranging the period props and settings. Oh, the musical theater icon is Stephen Sondheim, who crafted the superb music and lyrics with his usual wit and inspired rhymes and song structure, though without any huge “”standards”, with “Old Friends” perhaps the most enduring. His “Company” collaborator George Furth cleverly adapted and updated the 1934 play by George S. Kaufman and Moss hart, getting in plenty of digs at showbiz deceptions and rivalries, elicitng laughs and a deep melancholy since we see the seeds of heartbreak planted that will destroy marriages and that central friendship. This isn’t frothy “taps and taps”, rather it’s got a real bite, which may explain why it’s taken many years to be appreciated. And now we can bask in its wonder from a reasonably-priced (have you heard about those Broadway tickets) movie theater seat and enjoy the terrific talents at work in MERRILY WE ROLL ALONG.

3.5 Out of 4

MERRILY WE ROLL ALONG is now playing in select theaters

WICKED: FOR GOOD – Review

So, here’s a riddle that could flummox a few filmgoers. When is a sequel technically not a sequel? Now, we’re not referring to a number following a title (GODFATHER II comes to mind), or an entry in a series (as with James Bond or even Sherlock Holmes). That’s when a new film is a conclusion, ending a big story that’s split in two, usually shot at the same time. Pierre Spengler and the Salkind family famously produced two 70s adaptations this way, with the Three Musketeers (allegedly some of its stars weren’t told the movie was going to be split) and the big budget Superman (replacing the director for the concluding flick). That method was revived with Peter Jackson’s Lord of the Rings and Hobbit films. And when the last Harry Potter book was too epic, it was spread over two (as was the big Avengers/Thanos battle). Now, we come to the case of a big Broadway stage musical hit (it’s still running there), that the producers felt was just too complex for one cinema experience (plus, they could perhaps double the box office). The “first act” was a huge smash at the end-of-the-year holidays in 2024 at the multiplex, so now they’re hoping that much of that massive audience will want to “return to Oz” in 2025 for WICKED: FOR GOOD. Grab your brooms and wands…


The fantasy fable begins just a few miles from the Emerald City as the Wizard’s workers and official guards crack the whip on some harnessed lumbering beasts (looking like a hybrid of the buffalo or yak) in order to finish the long, winding Yellow Brick Road. But those abused animals have an unlikely rescuer. Soaring down through the clouds is not a caped superhero, but a wicked witch, Elphaba (Cynthisa Erivo). She frees the creatures after a brief battle, then heads skyward. Meanwhile, the Emerald City and Munchkinland are littered with banners, posters, and leaflets warning the populace of this “green-skinned menace”. There, her old Shiz College roommate Glinda (Ariana Grande-Butera) is the spokesperson (a bright, calming face) for the Wizard (Jeff Goldblum), while Madame Morrible (Michelle Yeoh) is his crafty consort in the shadows. The duo convince Glinda that it would help unify the citizens if she announced her engagement to the newly appointed Captain of the Wizard’s Guards, Fiyero (Jonathon Bailey) at that day’s big city ceremony. This comes as a surprise to him, since he still secretly harbors feelings for the “enemy of Oz”. Later, Elphaba encounters several animals trying to leave Oz through a tunnel under the YBR that would lead them to a desert land far away from oppression. She tries to rally them, but the animals reject her when a certain timid feline explains that “El” cast a spell that made the monkeys sprout wings. From there she visits her estranged sister Nessarose (Marissa Bode)who has been appointed governor of Munchkinland after the death of their father. In her office, her former beau Boq (Ethan Slater) is now her servant and is prohibited from traveling, along with all the Munchkins. After enchanting Nessa’s shoes (really slippers), Elphaba is stunned when her sister snatches her book of magic, the Grimmerie, and tries to put a love spell on Boq. When this threatens his life, El uses her powers to avert a fatal tragedy, changing him forever. It’s then that she decides to return to Emerald City to strike a truce with the Wizard to free the animals. This also results in a happy reunion with her “Shiz sister”, but El soon learns of the Wiz’s sinister future plans. As she speeds away on her broom, Morrible hatches a deadly plot. She’ll use her weather manipulation magic to endanger Nessa and lure El to her doom. But what happens when an innocent from another world is thrown (lands, really) into the conflict o Oz?

While the focus of part one was “up for grabs” (and wasn’t Universal a bit wicked for hiding that “listing’ in the 2024 marketing), here it’s clearly Erivo as the often distraught but determined Elphaba. Sure, she’s an avenging rebel in many sequences, streaking out of the sun with more speed than any action hero from Marvel or DC, but there’s a real sadness hovering just under that pointy hat. Erivo’s haunted gaze informs us of her sacrifices, as she must endure the vilest of hateful propaganda in order to help all of Oz. That’s in addition to her musical mastery that’s matched by her best screen partner, Grande-Butera as the now “less-flighty” Glinda. She’s also torn by her faith in the Wizard and her still-present affection for her Shiz sister. We get fewer funny moments with her this round (only a couple of “hair-flips”), as the character becomes more, dare why say, introspective, even examining her privileged younger years. This time out, Bailey is more of a swashbuckler than a flamboyant song-and-dance dude as the now military-minded Fiyero. Ditto for the much darker, dramatic turn as the tormented Boq. His former sweetheart has also taken a turn to tyranny, and Bode as Nessarose conveys her conflict as she yearns for the better times with her sister and old beau. And is there a better devious duo than the quirky but still charming Goldblum and the slinky, sinister Yeoh (love her sneering at Glinda) as the Wizard and Morrible? Happily, Bronwyn James and Bowen Yang return as Glinda’s old classmates, Shenshen and Pfannee, who are now Oz PR staff while bringing some much-needed levity.

Finishing the fantasy is director Jon M. Chu (unlike Richard Donner on the 78 Superman), who keeps the story rolling along and even inserts an action thriller aesthetic recalling his time in the GI Joe franchise. But he really shines in crafting the incredible production numbers, either the soulful ballads by Elphaba and Glinda or the big brassy bits with nearly of the Emerald City, which is just as gorgeous and green as before. Yes, like the first half, the production design, costumes, and backdrops (all the colorful flora and fauna) are delicious eye candy (what a great fodder for a “making of” coffee table tome). The expert effects work add to the visual wonders, with CGI making us believe in the Oz animals (especially those “winkeys”), even helping to put a new spin (no doubt to appease MGM/WB) on that iconic OG quartet. And in order to fill out the story’s second act (on stage, act two is usually shorter) musical wiz Stephen Schwartz has created a couple of new tunes. They’re hummable, but the real highlight is the title number “For Good”. But really, the most sensational songs are in the part. Nothing here has the infectious bounce of “Popular”and “What is This Feeling?” or the soulful yearning of “The Wizard and I” (the “I want” number) or the soaring majesty of “Defying Gravity”, but they’re going for the action and drama which isn’t quite as fun as the “big set” and character intros of last year’s flick. Still, this is a big splashy spectacle which should delight fans and families (though the tots may need some help through scarier violent bits) who want to continue the epic fantastical fable that concludes (maybe) with WICKED: FOR GOOD.


3 Out of 4


WICKED: FOR GOOD is now playing in theatres everywhere

MEAN GIRLS (2024) – Review

Avantika plays Karen Shetty, Angourie Rice plays Cady Heron, Renee Rapp plays Regina George and Bebe Wood plays Gretchen Wieners in Mean Girls from Paramount Pictures. Photo: Jojo Whilden/Paramount © 2023 Paramount Pictures.

Get ready for another “full circle film”, an IP (intellectual property) that began in one medium, was adapted to another, and then returns to that original medium. One of the more recent Broadway trends, along with the “jukebox musical”, has been taking an often beloved feature film and adapting it into a big splashy stage musical. And when they’re big hits, then bring the musical take to the big screen. Back in 2005, THE PRODUCERS did the big “whip-around” when the musical based on the 1967 Oscar-winning classic played (briefly) at the multiplex. A couple of years later saw the tune-filled return of HAIRSPRAY. Just a few weeks ago (it’s still playing in many markets) THE COLOR PURPLE did much the same, although it may be more of a “full-square” as it began as a book that became a 1985 Spielberg epic. As the TV hosts might say, “On a much lighter note”, we’ve got a big circle all within the 21st century as an adored (and endlessly quoted) cult comedy from way back in 2004 is now filling the world’s movie theatres with those singin’ and dancin’ divas, the MEAN GIRLS.


In the first of many “tweaks,” we first meet the misfit duo of North Shore High, Janis (Aluli’i Cravalho) and Damian (Jaquel Spivey), who serve as the story’s guide and narrators. Their garage/TikTok studio door opens up to the wilds of Kenya where teenager Cady Heron (Angourie Rice) is told by her wildlife-researcher mom (Jenna Fischer) that her homeschooling is done. They’re moving back to the States, where Cady will be part of the aforementioned school’s student body. Principal Duvall (Tim Meadows) escorts her to her first class, Calculus taught by Ms. Norbury (Tina Fey). Seems that Mama Heron has taught Cady well, but she’s not prepared for the battlezone AKA the school cafeteria. Luckily Janis and Damian take her under “their wings” and point out the different “social groups” (“burn-outs”, “goths”, etc.). Oh, and Cady is warned about the “queens” known as “the Plastics”. The trio consists of gorgeous, dim Karen (Avantika), insecure “lackey/sidekick” Gretchen (Bebe Woods), and their “leader’ the imposing goddess Regina George (Renee Rapp). Surprisingly she welcomes the new, “girl from an exotic land” Cady, and puts her in the runnings as a ‘fourth wheel”. Damian and Janis (who also has a history with Regina) encourage her to join and give them “the dirt” on the group. But things take a drastic turn when Cady becomes smitten with hunky Aaron (Christopher Briney), who just happens to be Regina’s ex (gasp). What will happen when Regina finds out? Cady survived the carnivores of Africa, but can she stand a chance against the sharpened talons of Ms. George?

The young cast expertly hits all the comedic and melodic beats of this musical fable. Rice is the story’s focus and quickly has the audience’s support as the wide-eyed innocent Cady. Perhaps because she’s the film’s heroine she doesn’t have as much opportunity to “cut loose”, although we get a hint of her range when Cady goes “dark”. The much “showier” role is the fierce and fiery (literally) Janis given an energetic power by Cravalho, perhaps best known as the voice of Disney princess Moana. With her third-act retelling of a childhood trauma, she truly ignites the screen. Her rival in many aspects of Cady’s character arc is Rapp as the sadistic “queen B” Regina whose sly seductive smile masks her cruel nature. At times she seems to be a bored cat casually taunting a mouse in its clutches, as she manipulates everyone into being pawns in her schemes. Rapp catutes that camp villainy and proves to be a most compelling crooner. Wood elicits lots of empathy as the needy, over-eager-to-please Gretchen while Avantika scores loads of laughs as the bubble-brained Karen, bouncing off the screen in the big Halloween number. Spivey brings lots of energetic charm to the cliche role of flamboyant BFF supporter Damien, while Birney is the required “eye candy” as the affable, but somewhat bland Aaron. But for many, the movie’s big highlight is the return of original faculty members Fey and Meadows who seem to have been “frozen in time” ( the old Captain America “pause”) as Norbury and Duvall, effortlessly hilarious in their too, too brief bits of screen time, making us wish that two other newbies, but also comedy vets, Jon Hamm and Fischer were given chances to shine. Luckily Busy Phillips picks up some of the “slack” as Regina’s too accommodating, wistful mother.

This reimagining is helmed by the first-time feature film directing team of Samantha Jayne and Arturo Perez Jr., who use several interesting techniques to “open up” the “Broadway staging’, giving the plot a sense of urgency I like the opening number’s quick location transitions), They’re striving to give this remake its own energy and style, though many storybeats feel lifted right from the 2004 original. But unlike that version, the kids must deal with social media which gets an exhausting couple of zippy montages. Ditto for many of the bouncy dance numbers especially an elaboration of the “school is a jungle” sequence from the first flick, with the “beasts” giving Regina her invisible “walkway”. Aside from those big numbers, the power ballads”, and the phone videos and memes, is this one an improvement over the now twenty-year-old gem? Not especially, but the script and setup by Ms. Fey endures and stands the “test of time”. It’s a very different “take” that should engage those “theatre geeks” (just hope that your multiplex’s sound system is up to it, as ours “garbled” most of the lyrics so it’s impossible to judge the quality of the tunes), but it won’t replace that well-worn disc (or maybe you still have a tape) of those marvelous but often malicious MEAN GIRLS.

2.5 out of 4

MEAN GIRLS is now playing in theatres everywhere