12/15/2023 0 Comments Tuck everlasting broadwaySponsored by Day’s Jewelers, Campbell's True Value, & KSW Federal Credit Union Directed by Debra Susi Musical Direction by Rebecca Caron Choreography by Adam P. Based on the best-selling children’s classic by Natalie Babbitt Music by Chris Miller and Nathan Tysen Book by Claudia Shear and Tim Federle Produced through special arrangement with Samuel French Inc. Songs: “Live Like This,” “Good Girl, Winnie Foster ” “Come to the Fair,” “Top of the World,” “Story of Tucks,” “My Most Beautiful Day,” “One Small Story ” “Time,” “Jump the Line,” “Seventeen,” Everything’s Golden,” “For the Best,” “You Can’t Trust a Man,” “The Wheel,” “Everlasting,” “Everlasting Ballet.Venue Policy: Waterville Opera House is requiring proof of vaccination or a negative COVID-19 test at all indoor events for patrons aged 12 and up. Running time: 2 HOURS, 10 MIN.Īn Alliance Theater presentation of a musical in two acts based on the novel “Tuck Everlasting” by Natalie Babbitt, with music by Chris Miller, lyrics by Nathan Tysen and book by Claudia Shear.ĭirection and choreography by Casey Nicholaw. Sets, Walt Spangler music director, Rob Berman orchestrations, John Clancy costumes, Gregg Barnes lighting, Kenneth Posner sound, Brian Ronan production stage managr, Holly Coombs.Īndrew Keenan- Bolger, Sarah Charles Lewis, Terrence Mann, Michael Park, Carolee Carmello, Robert Lenzi, Liza Jaine, Shannon Eubanks, Fred Applegate, Michael Wartella, Brad Anderson, Julie Barnes, Brad Bradley, Josh Brook, Deanna Doyle, KC Fredericks, Lisa Gajda, Jessica Lee Goldyn, Neil Haskell, Jane Labanz, Marco Schittone, Curtis Schroeger, Ben Silver. (Alliance Theater, Atlanta 750 seats $75 top) Opened, reviewed Feb. There also isn’t a fulfilling resolution for Winnie and Jesse at story’s end that satisfies. If some of these details can be worked out, the show just may have a shot at living on, too.Ītlanta Theater Review: ‘Tuck Everlasting’ the Musical Still, her character needs a bit less pluck and a little more conflict about the family she may be leaving behind in exchange for a sip of Foreverland. But the two characters are sketchily written: Dad as a perennial lug until Winnie brightens things, and big bro as a toughie who turns too quickly to softie.īut the show’s heart lies in the relationship between Winnie and the eternally 17-year-old (but really 104) Jesse Tuck, played by Andrew Keenan-Bolger, who skillfully balances the joy of youth with the underlying loneliness of his journey. As Winnie, Lewis is a real find: self-possessed and engaging, with the presence to not only hold a stage but also carry a show. The Tuck clan includes Michael Park as the patriarch who delivers the show’s philosophical summation (“You can’t have living without dying”) in “The Wheel,” and older brother Miles (Robert Lenzi), who tells his story of loss in “Time” both songs are beautifully sung. As Winnie’s sharp-tongued Nana, Shannon Eubanks steals a scene or two while also landing the show’s biggest laugh. A pair of touching ballads - “My Most Beautiful Day” and “For the Best” - are rendered by Tuck matriarch Mae, played by Carolee Carmello, who ankles the cast this week to begin rehearsals for another flight into fantasy, “Finding Neverland.” Beth Leavel succeeds her.Ĭrowdpleasing elements include terrific vaudevillian turns by Terrence Mann as the delectably villainous Man in the Yellow Suit (“Everything’s Golden”) and Fred Applegate and the limber charmer Michael Wartella - a breakout spot here - as the deadpan constable and his eager deputy (“You Can’t Trust a Man”). Well-crafted tunes by Chris Miller and Nathan Tysen (“The Burnt Part Boys”) set their musical motif in folk-roots-meets- Broadway territory. The show’s warm tones are deepened, too, by Walt Spangler’s set, grounded by his swirling forestry and Kenneth Posner’s golden-glow lighting. Helmer and choreographer Casey Nicholaw, noted for his bold, sassy hand in “The Book of Mormon,” “Aladdin” and “The Drowsy Chaperone,” here explores a more delicate and lyrical approach, even creating a moving ballet sequence that reps one of the evening’s highlights. The tuner also differs from Natalie Babbitt’s novel and the film by making Winnie’s mother, Betsy (Liza Jaine), an over-protective widow who cautions “The world is a dangerous place” to her free-spirited daughter also new is a traveling fair that opens the action up a bit, along with the ensemble’s wistful “I wish” opener, “Live Like This.” Most importantly, the script finds a simpler resolution at story’s climactic crisis.
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