Today is Sunday, March 15, marking the "official" opening night of Roundabout's and Broadway's first-ever revival of ON THE 20th CENTURY, playing the American Airlines!
Just my opinion but I thought the show is awesome...I saw in previews on 2/28! Amazing cast (and I saw the Peter understudy), music and performances. I have tix to see the show again in May!!
This isn't a review of the current production, but (and it's a big but), I was so lucky to get to see the original production three times. It is an unbelievably awesome show and I hope the Roundabout has done a perfect revival. Being a fan of both Gallager and Chenoweth, I can't see how they could go wrong on this Comden/Green/Coleman hit. I am sure both Madeline Kahn and Imogene Coco are smiling from above for this cast's production! If I were still living in NYC or able to easily travel from the West coast back to NYC I would already have several tickets in hand! Looking for you fans to post your personal reviews on this thread.
There is a thread already where many have posted about the show. It's on the front page so maybe you want to scroll through it and enjoy those posts. I think this thread remains for "official" reviews.
"Train travel is hot again, at least at the (ironically named) American Airlines Theater, where “On The Twentieth Century” turns out to be one of the funniest and most entertaining shows on Broadway – something not everybody would have predicted for this revival of a 37-year-old musical comedy adaptation of an 83-year-old play about two people who take a train from Chicago to New York." On The Twentieth Century Review (with a dozen photographs and a video)
All told, “On the Twentieth Century” is on track to score big at Tony Awards time — Chenoweth might as well start practicing her acceptance speech. Buy your tickets before the train leaves the station.
Yet while Lily may well be the role of Chenoweth's career, this Century, which opened Sunday at the American Airlines Theatre, is by no means her triumph alone. In this production, directed with giddy virtuosity by Scott Ellis, every player seems perfectly cast — starting with the leading man, Peter Gallagher, whose recent struggle with a sinus infection delayed the opening by a few days.
Theatergoers get pretty passionate about Cy Coleman’s score. I’m not one of them—this isn’t really one of those shows with songs that you leave the theater humming. That said, a slew of polished comic turns and some stellar staging make it a shrewd move to hop aboard this train.
3 out of 4 stars mostly Positive from AM New York.
The Roundabout Theatre Company's new production with Kristin Chenoweth and Peter Gallagher doesn't live up to all that the musical could be theatrically, musically and comically. That being said, the production is still pretty damn enjoyable. To speak metaphorically, the glass may not be full, but it's certainly more than half full.
While the director can't quite find the glue to hold it all together, the nonsensical plot and stereotypical characters are pure screwball silliness, providing the bones for some amusing comic setpieces. But watching the reliable Karl (Rocky) do bicep curls, using the diminutive Chenoweth as his barbell, is as close as the show gets to hilarious.
Mostly Positive or Mixed-to-Positive(?) from The Wrap.
Director Scott Ellis follows “You Can’t Take It With You” with this fine-tuned revival. Ellis suddenly owns American screwball comedy. In fact, most of the fun in “On the Twentieth Century” comes from silent bits of business between the actors. Truth be told, Comden and Green’s book inspires more smiles than belly laughs, and Coleman’s music borrows from everybody (Bernstein, Gilbert & Sullivan, Lehar, Bellini) but himself at his best. “On the Twentieth Century” needs stars, and for the most part this production delivers them express.
"Century" is filled with delightfully improbable madcap action, flamboyant musical numbers and polished, inventive choreography by Warren Carlyle. There's even an adorable quartet of tap-dancing porters. Chenoweth glamorously milks each comical cliche while her opera-trained voice trills and soars in song after song.
It seems that Best Actress in a Musical tends to be pretty competitive. If Chita and Kelli gets the reviews I'm expecting then it will be a nailbiter come Tony night. I wonder what the stats are between revivals and original characters when you have critical raves for the competing nominees like last year.
Having just come from the King and I preview, I'd bet Kelli WILL go home empty-handed one more year. Not because she's not lovely as Anna, but because the part isn't the tour-de-force that these other diva-turns are. I'd be very surprised if Chita doesn't win.
If Kelli DOES somehow get the Tony, I'll just chalk it up to paying back the debt for her PHENOMENAL work in Bridges.
I thought Kelli did the finest work of her career, and I only saw the fourth preview. I've never liked Chenoweth and I didn't particularly love her in ON THE 20TH CENTURY, though she's certainly worthy of a nomination. My money's still on Chita, but don't count Kelli out.