Lyrics by Nathan Tysenĭirected and choreographed by Casey Nicholaw. and Barry Brown presentation of a musical in two acts, with book by Claudia Shear and Tim Federle, based on the book by Natalie Babbitt. Scott, Late Life Love Prods./Alexis Fund, Falston Prods./Kyle Fisher, Jack Thomas/Caduceus Prods. Deverna/AC Orange Intl., Warner/Chappell Music/Linda G. Sine, Broadway Across America, Samira Nanda, Matthew Blank, Laurie Glodowski/Susan Daniels, Joan Jhett Prods./Gabrielle Hanna & Marcy Feller, Patti Maurer/Bev Tannenbaum/Sunshine Prods./Karen Humphries Sallick, Rich Entertainment Group/Jeremiah J. Running time: 2 HOURS, 15 MIN.Ī Grove Entertainment, Arlene Scanlan & Michael Jackowitz, Howard & Janet Kagan, Jeffrey A. At the show’s end, you’ll want to hug your family - if not a tree.īroadway Review: ‘Tuck Everlasting,’ The Musicalīroadhurst Theater, 1,161 seats, $147 Top. Director Casey Nicholaw, Broadway’s go-to musical comedy guy (“The Book of Mormon,” “Aladdin”), here shows a more lyrical side, climaxing in a story-of-life dance number that packs an emotional wallop. The stylishly rustic set by Walt Spangler is dominated by a grand, twisting marvel of a tree that dominates the proscenium, lit glowingly by Kenneth Posner. But the narrative, at least, is always buoyed by its tuneful folk-rooted score by Chris Miller and Nathan Tysen (“The Burnt Part Boys”). Like the children’s book, the script fudges some narrative questions and complications and grapples ever-so-lightly with the complexities of infinite life. Also giving the show some welcome comic lift are Fred Applegate, wonderfully New England-dry as the town constable, and his nervous assistant Hugo (Michael Wartella, a charmer), who together do a terrific vaudevillian turn in “You Can’t Trust a Man.” The Man has been on the Tuck hunt for years in pursuit of their fountain of youth. But that comes late in the show, and until then conflict lurks in the guise of the villainous Man in the Yellow Suit (Terrence Mann, in a delicious performance). The narrative inevitably hangs on the will-she-or-won’t-she question of whether Winnie will drink from the spring too. Mom Mae Tuck (Carolee Carmello) provides maternal warmth and a golden soprano, especially in the lilting “My Most Beautiful Day.” Older brother Miles (Robert Lenzi) offers a rare glimpse of the darker side of forever, while Jesse represents the exuberance of eternal youth with an engaging performance by Keenan-Bolger. Here Winnie is back in the role of curious child, in search of adventure in a wider world and encountering an enchanting family that understands her.ĭad Tuck (Michael Park) fills Winnie’s need for a paternal role model and offers the show’s melodic homily in “The Wheel” (“You can’t have living without dying”). The musical smartly returns the young heroine to the age of 11, after Disney’s dismal 2002 film version made the story a lifeless teen romance. There, she learns that about a hundred years earlier the Tucks accidentally sipped from a magical spring nearby and have remained frozen in age, immortal ever since. Feeling constrained by her overprotective mom, she runs away from home and comes across teen-like Jesse Tuck (Andrew Keenan-Bolger) and his mysterious brood, living deep in her family’s woods.
There’s a bit more humor, but still not enough salt and vinegar to give the sweetness some kick.īased on the 1975 children’s book by Natalie Babbitt, the musical centers on a self-possessed 11-year-old girl (a strong-voiced Sarah Charles Lewis, making an impressive debut) at the turn of the 20th century in New Hampshire, where she lives with her recently widowed mother (Valerie Wright) and feisty nana (Pippa Pearthree). The opening number is sharper, one tune is repositioned to greater effect and the role of one supporting character is expanded. Since its premiere last year at Atlanta’s Alliance Theater, the show - with nearly the same talent - has been tightened and brightened, with Tim Federle joining the creative team as co-book writer with Claudia Shear.
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