Guess the Broadway show by an actual critic’s quote.
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22 Questions
Spoiler
Spring Awakening
Brooks Atkinson -The New York Times – Mr. Styne has written his most colorful score. The music is fresh and lively in the musical-comedy tradition. Taking every situation on its own level, he has written dramatic songs, as well as Tin Pin Alley tunes. Stephen Sondheim's lyrics are equally hackneyed.
Frank Rich – The New York Times – When was the last time you saw a Broadway song and dance about the slaughtering of a pig?
Jesse Green -The New York Times – Even if its poor “greasers” and rich “socs” (the book’s shorthand for society types) now seem like exhibits in a midcentury angst museum, their inchoate yearning has not aged.
Richard Eder – The New York Times – It is in many ways closer to opera than to most musicals; and in particular, and sometimes too much for its own good, to the Brecht-Weill Three-penny Opera.
Ben Brantley – The New York Times -Suddenly, you're 4 years old again, and you've been taken to the circus for the first time. You can only marvel at the exotic procession of animals before you: the giraffes and the elephants and the hippopotamuses and all those birds in balletic flight.
Frank Rich – The New York Times -A confusing jamboree of piercing noise, routine roller-skating, misogyny and Orwellian special effects.
Ben Brantley -The New York Times – There are moments that climb into the stratosphere of legendary badness.
Jesse Green -The New York Times – Yes, it really is that good.
Frank Rich – The New York Times – The ensuing fusion of drama, music, character, design and movement is what links this English adaptation of a French show to the highest tradition of modern Broadway musical production.
Brooks Atkinson -The New York Times – A profoundly moving show that is as ugly as the city jungles and also pathetic, tender and forgiving.
Ben Brantley -The New York Times -And here it is, looming like a giant stuffed bat on a stick, the easiest target on Broadway.
Frank Rich – The New York Times – THE mansion has landed.
Margo Jefferson – The New York Times – Messy enough to make you crazy at times (too long on plot, too short on musical resources), and rich enough (it has passion, principles and daring) to send you home believing you've experienced something like a catharsis.
Clive Barnes -The New York Times – Galt MacDermot's music is merely pop-rock, with strong, soothing overtones of Broadway melody, but it precisely serves it's purpose, and it's noisy and cheerful conservatism is just right for an audience that might wince at Sergeant Pepper's Lonely Heart's Club Band.
Ben Brantley -The New York Times -This show is not only the most expensive musical ever to hit Broadway, but it may also rank among the worst.
Frank Rich – The New York Times -There are some lovely tunes, arguably his best yet, and, as always, they are recycled endlessly: if you don't leave the theater humming the songs, you've got a hearing disability.
Charles Isherwood – The New York Times -When this musical erupts in one of its expressions of collective joy, the energy it gives off could light up the George Washington Bridge for a year or two.
Frank Rich – The New York Times -It's a musical that transports the audience into a complete fantasy world that could only exist in the theater and yet, these days, only rarely does.
Ben Brantley -The New York Times -It seems significant that Sigmund Freud, one of the characters in the novel, has been eliminated from the musical. This is a show without a subconscious, a parade that never strays from the well-paved surface of Main Street.
Frank Rich – The New York Times -. As directed with a great eye and a big heart by Jerry Zaks and performed by a thrilling young company that even boasts (snip) the rare sighting of a brand-new musical-comedy star, this is an enchanting rebirth of the show that defines Broadway dazzle.
Lewis Nichols -The New York Times – Wonderful is the nearest adjective, for this excursion of the Guild combines a fresh and infectious gayety, a charm of manner, beautiful acting, singing and dancing, and a score by Richard Rodgers which doesn't do any harm either, since it is one of his best.