Review Roundup: Sting in Broadway's THE LAST SHIP

Earlier this month, Sting joined the cast of the musical he penned, The Last Ship, for a limited run through January 24, 2015. He replaced actor Jimmy Nail, who is said to have 'blessed' the move. Sting then joins Paul Simon on tour in New Zealand on January 30, 2015, making any further extensions unlikely.

Throughout Sting's enduring career, he has earned 16 Grammy Awards, a Golden Globe, an Emmy, three Oscar nominations, and has sold close to 100 million albums from his combined work with The Police and as a solo artist. He is a member of both the Rock and Roll Hall of Fame and the Songwriters Hall of Fame, has appeared in more than 15 films and authored two books, including the New York Times best-selling memoir, Broken Music. His fourteenth solo album, entitled The Last Ship, is inspired by the story of his forthcoming play of the same name and draws upon his memories of the shipbuilding community of Wallsend in the North East of England where he was born and raised. In February 2014, PBS' "Great Performances" premiered "Sting: The Last Ship," featuring Sting performing songs from both his album and Broadway-bound musical captured live at The Public Theater in New York City. For further information, visit sting.com.

Let's see what the critics had to say...

Charles Isherwood, New York Times: Sting's presence doesn't alter the chemistry of the show in any significant way. He appears at times to be at pains to make sure it doesn't. He is more an onlooker than a participant in the earthbound, stomping and rolling choreography of Steven Hoggett. And his more subdued approach to the role of Jackie almost seems to contain a faint air of apology. I pictured a thought bubble over his head saying, "Yes, it's me, but I'm not the bloody point." Which is perfectly true. Although it has its flaws, primarily in the somewhat tangled book, "The Last Ship" remains a musically entrancing show performed with grit and passion by an excellent cast. Why audiences haven't warmed to it may have more to do with the narrowing of the Broadway audience's tastes than anything else. An original musical with no familiar brand to exploit - particularly a show that doesn't sell peppy uplift - has now become a quixotic, against-the-odds endeavor. This adds another layer of strange, sad symbolism to the central image of the show, that mighty vessel headed nowhere.

Marilyn Stasio, Variety: The show itself remains an uneasy mix of styles - half-baked realism at war with mythic fable. And it still works best on abstract terms, which helmer Joe Mantello and his creative designers have carried off through the otherworldly imagery of giant man-made vessels capable of plowing the deep waters of a largely symbolic sea. In his bigger-than-life persona, Sting embodies an otherworldly quality that allows this ship to sail beyond all human limits.

Jesse Green, Vulture: From the number and passion of his fans in attendance at a recent performance, whooping and cawing as if to provide apt riparian sound effects, it seems the ploy has worked not just commercially but spiritually; the show now plays like a hit. Whether the boost will help The Last Ship stay afloat after Sting leaves (he's scheduled to appear through January 24) is unclear; it's defiantly serious-minded and makes few concessions to popularity. I still find it, as I did when reviewing the October opening, too often confused and becalmed. But on a return visit I was even more impressed than previously with the loveliness of some of the songwriting and the overwhelming beauty of the staging. For a show that spends a lot of time going nowhere, it goes there gorgeously.

Linda Winer, Newsday: This is the definition of star quality. Although he plays a secondary character (the yard foreman formerly well played by Jimmy Nail), Sting pulls the stage together without ever upstaging the others. True, he doesn't join in the barroom stomping dances and, by not getting dirty in the second act when the ship is being built, he looks dapper enough to be a visiting squire. But never mind. With his distinctive voice and poetic soul, the score -- already the best thing about the show -- has a thematic unity beyond the haunting individual melodies, the plaintive close harmonies, the mambos and waltzes and harsh dance rhythms.

Elysa Gardner, USA Today: Under Joe Mantello's robust direction, Ship approaches these subjects with an utter rejection of camp - or its nasty and increasingly popular younger cousin, snark, which requires little knowledge of a particular subject, focusing instead on showing off one's own ostensible cleverness. Sting knows this territory, intimately, from the Catholic imagery to the Celtic textures that course through the music, but he is not here to mock or grandstand. To the contrary, Sting has been quite blunt about joining this company in order to raise ticket sales. By taking on an age-appropriate featured role - one that Nail sang in a smoky siren of a voice that channeled Sting's own vocals considerably - he assumes the responsibility, and privilege, of supporting others as they bring life to his vision; and you can't help but notice the flickers of pride as he does so.