Annie Get Your Gun review
Annie Get Your GunReview - Broadway musicalBoth musical performances are good – the first in the 1950s and one following after nearly half a century, in 1999 (revised to adapt the present vision and reinforced the basic format, making it to be the show within the show). In addition to the musical film, there were also radio plays. However, the original play in terms of costumes loses much to common sense and to what actually were people wearing in the 1800th or 1700th, particularly those living in the Wild West. If you take away from them the white garment, stripes in all places, curly decorative embroidery, and the ideal branded clothes and make it all dirtier, get rid of cleanliness with its excessive brilliance, sequins, lace and fur, and give it the status of every day’s life – so we will receive something about equally plausible to clothing worn in the third part of the Back To The Future. Especially to one in what mercenaries in the faces of gang of bullies headed by Tannen were dressed in.
Since Ethel Merman were not starring in rethought play, who was a friend of Dorothy Fields, but Bernadette Peters replaced her, who really had serious talent, this musical has gained not only new colors from a talented performance, but also from rethinking of story and format of its filing. Slightly rustic way of giving the accent, which is tied to Annie now, does not interfere with the rest of anything – singing, comedy talent and the play itself. Despite the apparent feeling that Irving Berlin, who remade the show after half a century, was thinking of Dorothy’s play, he had to be at the forefront of those who clapped frantically to Bernadette’s acting.
Tom Wopat, who acts the lead male role – Frank’s, deserves a lot of respect for his talent and its revelation on the stage. May it be that his voice is not strong operatic, but he has his own assured way of the parties and perfectly sings in a duet with Annie.
In the show, a lot of whom are worth mentioning for the bright achievements – a great dancer Andrew Palermo and very interesting presentation of jokes by N. R. Snelson and the demonic nature of Valerie Wright, that she passed tremendously through the prism of her character – Dolly Tate.
Sitting Bull is the remaining character, depicting an Indian – the chief who gets good money for his oil-bearing land on which the government has set the towers. Despite the fact that songs, discriminating Indians, have been deleted, the comic and insulting character remained, as an atavism of the past. Play-in-play is very nice course, but it is not used as talented as in the production The Rivals, which was featured in the Williamstown Theatre, and it is a pity that Mr. Stone, along with his chief aide – decorator T. Walton did not watch the abovementioned play to learn the successful approach.
We should also mention a decent staging of dance at the beginning of the musical, which includes many dancers (good work of G. Daniele, choreographer). However, the Broadway version of the musical was cut by about 10 minutes, initially it lasted 2:50.
Last Update:April, 06th 2016