Set in the magical world of La Belle Epoque in turn-of-the-century Paris, GIGI is a timeless romantic comedy about a young woman groomed in the custom of her family to be a companion to a bored, wealthy playboy, until the two unexpectedly realize this is in fact true love.
This year marks the 40th Anniversary of the debut of Gigi on Broadway. Lerner and Loewe's Tony Award-winning score was first heard in the 9-time Academy Award-winning Best Picture of the same name, directed by Vincente Minnelli. The movie, which was the last of the classic MGM musicals, was based on the Broadway play by Anita Loos and the popular novella by Colette.
Alan Jay Lerner and Frederick Loewe's beloved musical GIGI will return to Broadway in a production directed by Tony Award-nominee Eric D. Schaeffer (Follies), in a new adaptation by acclaimed British playwright and Emmy-nominated screenwriter Heidi Thomas ("Cranforde," "Upstairs Downstairs," "Call the Midwife".)
Hudgens has to come up with a Gigi in an era when it is generally thought best that little girls are allowed to grow up in a most delightful way, far away from the prying eyes of older suitors waiting for them to bloom...Heidi Thomas...clearly is aware of these issues. She amps up Gigi's moments of rebellion from her chosen path...That would all be well and good if Hudgens had got the memo. But for most of this show she comes up with the most girlie Gigi you could possibly imagine: it is as if she were told to be as chirpy and childlike as possible, skipping around the stage and, at times, bending at the waist like a rag doll...Hudgens is, for sure, sincere and working hard. But her safe-as-the-valley Gigi feels Californian all the way and, well, not even remotely French. Actually, nothing in this show (and I include both the earnest McGillin and the setting by Derek McLane, replete with a mini Eiffel Tower) feels even remotely French. And without that je ne sais quoi, well, you're left with a piece sans any viable identity.
The musical, based on a 1944 novel by Colette, is not Lerner and Loewe's best. But it's lovingly updated in a new Broadway incarnation directed by Eric Schaeffer, with magnificent visuals of Belle Époque Paris, arresting choreography and, yes, a charming performance by leading lady Vanessa Hudgens. Hudgens...makes a commendable Broadway debut as a young woman in the throes of adolescent gawkiness, long limbs flailing as she imitates poses of womanhood...Victoria Clark is in lovely voice and emanates warmth and kindness in the role...Hudgens...deserves credit for pulling off a role that must nearly carry the show...Hudgens gives a generous, if not always naturalistic, performance as she transitions from an irrepressible tomboy to an elegant woman in love. Although her acting occasionally suffers from over-enunciation, she sings well and impressively keeps pace with the show's dancers...She has a fitting match in Cott, who has a lovely light tenor and willingness to go all-out goofy in the song 'Gigi,' where his blinders finally come off.
2015 | Washington, DC (Regional) |
Kennedy Center Production Washington, DC (Regional) |
2015 | Broadway |
Broadway Revival Broadway |
Year | Ceremony | Category | Nominee |
---|---|---|---|
2015 | Drama Desk Awards | Outstanding Costume Design | Catherine Zuber |
2015 | Outer Critics Circle Awards | Outstanding Featured Actress in a Musical | Victoria Clark |
2015 | Tony Awards | Best Performance by an Actress in a Featured Role in a Musical | Victoria Clark |
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