Pittsburgh in the Round: Huge ensemble casts were a hallmark of 1930s theatre, which was largely driven by government funding of the Federal Theatre Project as part of the Works Progress Administration. A cast of 30 clearly generated more employment opportunity than a cast of 4, so large ensembles became the norm. While the musical Side Show was first performed in 1997, it is set in the 1930s. It nods to its Depression-era contemporaries with 25 characters, which Split Stage Productions fills with a cast of 19, still a sizable commitment by today’s standards where the one-man show reigns supreme as economic safeguard. Side Show (book and lyrics by Bill Russell, music by Henry Krieger) traces the career trajectory from sideshow to vaudeville of real-life conjoined twins, Daisy and Violet Hilton.
2 comments:
This was a critical review of a production of Side Show the Musical. I saw the revival on broadway and did enjoy my self, but I understand why it had a short run on broadway. The show it self has its great moments and its really really slow parts. That being said this review made it clear that this productions its self may have some bigger issues than the book and music. This is an unfortunate review. For me it is not an inviting review. This show is already on the line of being a good musical or a bad one that you really need good casting. Which for this show i know is a astronomical challenge, given the specific needs and requirements for casting the show. Most notably the staring rolls of the conjoined twins. Twins are always a challenge but twins that have to stand right next to each other is even harder.
Having never heard of this musical, I am very intrigued by the production. Raymond describes the pre-show atmosphere in such detail. Since it is such a big part of how you enter the world of the show, I really like that the designers chose to start the world building before the audience sits down, because in the past I have seen it be incredibly effective. I love the idea of seeing the show as part of the spectacle. As if the audience is not simply going to a play, but an actual Freak Show or circus event. Raymond’s language makes the theater come alive and invites the reader into this strange world. In terms of Raymond’s criticisms, I would have to see the show in order judge whether or not those elements actually take away from the experience. However, from what I can tell it seems as though his comments are nitpicking.
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