Parrotheads, keep in mind that there are not enough parrots in this show. (Can anyone do anything about it?) Otherwise, the hedonistic spirit of Buffett's "Gulf and West" music is felt in an extravagant display in this mindless but colorful musical customized for fans.
Theatergoers are encouraged to get in the mood for the party with a few daisies in the strikingly decorated lobby. Once inside, capture the atmosphere of the island, a sybarite mental state where the sun always shines, the water is always hot and everyone has fun. Have another margarita.
Walt Spangler's saturated color designs set the stage for the neverland called Margaritaville with grbad and bamboo tiki huts, cardboard waves, beach balls, surfboards, beach towels and thick vegetation curtains filled with flowers . And let's not forget the volcano – every Caribbean island needs its volcano – on the back wall. Designer Howell Binkley lights it up with the brightest gels in his color wheel.
Television screenwriters Greg Garcia and Mike O 'Malley, who collaborated on the book of numbers, do not break new ground with their cheesy story about a charming lothario island that breaks the romantic resistance of an Ohio tourist. (Yawning) But the location of Buffett's songs (mostly familiar) are intelligently combined with the developments of the so-called plot.
"License to Chill" is the correct introduction to Margaritaville and the people who call this island resort their home. Tully, the quintessential beach bum played by Paul Alexander Nolan (the bright star of "Bright Star" and still shining here), seems happy with his career at the Margaritaville house. This band on stage, installed in their own little tiki hut, does an excellent job playing the role of Coral Reefer Band by Buffett.
A feisty woman named Marley (Rema Webb, who lights the stage every time she is) has the quaintly sordid Margaritaville Hotel & Bar, where all the local losers hang out. Brick, the sleepy-eyed bartender, is a nice bear, played by Eric Petersen. JD, entertained and exaggerated by Don Sparks, is the character of the house, an old man who drinks an endless credit and claims to be writing the memories of a fabulous life.
There are many other greased and oiled bodies on stage, but for the most part, they're just part of the stage, constantly called to the energetic but unimaginative choreography of Kelly Devine. However, they look cute in Paul Tazewell's bright print outfits.
"Fins" is a fun song to receive the best friends Rachel (Alison Luff) and Tammy (Lisa Howard) who are below Cincinnati, warning them about the Earthlings they should expect to meet during their weeklong vacation. ("Can not you feel them surround you with love? / Can not you feel them swimming?")
"It's five o'clock somewhere" they argue why Rachel should stop worrying about work and fun-loving Tammy you should stop thinking about the boyfriend you left at home and learn about the main forms of entertainment in Margaritaville: drinking and screwing. (See also: "Why do not we get drunk and screwed?")
At the same time, "It's My Job" is a colossal and boring number in which Rachel explains her colossal and boring work. And "Three Chords" is a fortune teller for a romantic number for Rachel's seduction by Tully.
"We are the people our parents warned us about" is a much more entertaining and slightly romantic number between Brick and Tammy. Petersen and Howard do not suffocate the couple tenderly, but they manage deftly to make romance and humor go hand in hand.
As if all the drunken and messy numbers were not enough to give us a clear picture of life in Margaritaville, hangover songs like "My head hurts, my feet stink and I do not love Jesus" hammer the message. And despite a cornball plot that involves (SpongeBob alert) an angry volcano, most of the songs revolve around drinking.
However, well packaged, the program does not fit well with New York, where it arrived in San Diego, New Orleans, and those tropical tourist cities, Chicago and Houston. It is not known where he will go from here; but under the direction of Christopher Ashley, who directed the original production at La Jolla, the production is in the form of a ship to travel north, west and south of us, anywhere but here.
Broadway Review: Jimmy Buffett's Escape to Margaritaville
Marquis Theater; 1626 seats; $ 169 above. Opened on March 15, 2018. Revised on March 14. Duration: TWO HOURS, 10 MIN.
A presentation by Frank Marshall, Rich Entertainment Group, Anita Waxman, Grove Entertainment, James L. Nederlander, Jeremiah J. Harris and Darren P. Deverna, Linda G. Scott, John H. Tyson, The Shubert Organization, Latitude Link, John Morgan , Roy Furman, Jeffrey A. Sine, AC Orange Entertainment, Arlene Scanlan and Witzend Productions, Terry Allen Kramer, Universal Music Group and Scott Landis, Kevin J. Kinsella, Independent Presenters Network and Al Nocciolino, Seahenry Productions and Skolnick-Dagen, Jam Theatricals, and La Jolla Playhouse, of La Jolla Playhouse, production of a musical in two acts with a book by Greg Garcia and Mike O & # 39; Malley and music and lyrics by Jimmy Buffett.
Directed by Christopher Ashley. Choreographed by Kelly Devine. Orchestrations by Michael Utley; musical supervision, arrangements of vocal and incidental music and additional orchestrations by Christopher Jahnke. Sets, Walt Spangler; costumes, Paul Tazewell; lighting, Howell Binkley; sound, Brian Ronan; wigs, hair and makeup, Leah J. Loukas; Flying effects, flying by Foy.
Paul Alexander Nolan, Alison Luff, Lisa Howard, Eric Petersen, Rema Webb, Don Sparks, Andre Ward, et al.