THE HANGOVER REPORT – KING KONG is an awkward spectacle, but the puppet is a total triumph

The musical version of 'King Kong" at the Broadway Theatre. Photo by Matthew Murphy.

The musical version of ‘King Kong” at the Broadway Theatre. Photo by Matthew Murphy.

Last night, the musical version of King Kong opened on the Great White Way at the Broadway Theatre. What did I think? It’s certainly a spectacle, but an awkward one at that. There’s just something inherently incongruous about a dance-heavy musical about King Kong. Nevertheless, the hulking show is as consistently entertaining as your summer blockbuster, if lacking in subtlety and musical theater craft.

The new score by Marius de Vries and Eddie Perfect is perfectly pleasant but somewhat generic (the show does have some lovely ballads, however). As for the book by Tony-winning Jack Thorne (he penned Harry Potter and the Cursed Child), it actually does a skillful job of translating the Kong legacy to the Broadway stage. Not surprisingly, the musical works best when the monumental animatronic Kong is onstage, as operated by ten hardworking puppeteers. Their work has resulted in a creation that’s a pulse-racing triumph – and the show’s most human character. You probably won’t see a more spectacular sight this theater season.

King Kong is directed by Olivier Award winner Drew McOnie for maximum efficiency. His production impressively rips through the plot, sometimes at the expense of making dramatic impact along the way. The cast is solid, and the three main leads (Christiani Pitts, Eric William Morris, and stalwart actor Erik Lochtefeld) do a fine job, but there really are no stand-out performances here. Oh wait, I forgot about the monkey. Joking aside, this sensational, show-stopping manifestation of Kong not only steals the show, it is the show.

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KING KONG
Broadway, Musical
Broadway Theatre
2 hours, 30 minutes
Open run

 

Categories: Broadway, Theater

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