Lennon, the musical tribute to former Beatle John Lennon, opened at New York’s Broadhurst Theatre Sunday night to rather disappointing reviews. The show, which was written and directed by Don Scardino, was produced with the full support of Lennon’s widow, Yoko Ono.
The show focuses on his work after the breakup of the group, and is derived in part from his journal entries and other random writings. Julie Danao-Sulkin portrays Yoko throughout, while nine actors portray Lennon in various stages of his career, most notably, Will Chase who looks and sounds a great deal like Lennon did at the end of his life. The point seems to be that Lennon appealed to a broad base of fans, and that his music crossed ethnic and gender lines.
Here’s a representative sampling of the show’s opening night reviews:
Ben Brantley of the New York Times praised Chase’s performance, but felt that his charisma might have been too strong, and thus, “upset the show’s balance.” Brantley wrote, “While the songs' musical hooks may still dig into your memory, the image of the man who wrote them is likely to feel fuzzier after the show than it did before.'
Clive Barnes of The New York Post wrote that the show 'benefits from its nine-person cast, superb from top to bottom.” However, he feels that it “suffers from a concept and book by the show's director, Don Scardino, that is so shaky it can scarcely stagger from one side of the stage to the other.”
In the The New York Daily News, Howard Kissel writes, 'The musical, directed and conceived by Don Scardino... adds nothing to your appreciation or understanding of John Lennon.” Calling it a “listless presentation of the events of his life,” Kissel says that it “will diminish your sense of who he was.” He also criticizes the lack of choreography, minimal sets, and chintzy wardrobe.
Marilyn Stasio of Variety feels that the fact that the show focuses on Lennon’s post-Beatle work “results in a score that sounds unfinished in a sad and rather ghoulish way.”
Michael Kuchwara of the Associated Press calls the production “a bland stage biography,' and writes that the show “is never given a chance to build dramatically.” He does point out what he calls the show’s “special musical moments,' including Chuck Cooper’s rendition of “Instant Karma,” and Julia Murney’s “Beautiful Boy.”
Writing for USA Today Elysa Garner is particularly irked by suggestion that, “the Fab Four was some inconsequential pop act that provided Lennon a stepping stone to his true calling,” and says that this “is as unfair to him as it is to the other Beatles.” She isn’t completely negative, however, and enjoyed what she calls “a number of playful flourishes in Lennon--including a joking reference to Ono's, um, controversial singing voice--along with genuinely moving moments.” She concludes: “But when you imagine all the people whom Lennon's songs and spirit touched, you can't help but wish him better.'
Lennon is scheduled to run through Saturday, November 19. The Broadhurst Theatre is located at 235 W. 44th St.
