BWW Reviews: New and Improved SIDE SHOW Fleshes Out Its Story of Conjoined Twins

Weeks after the original 1997 Broadway production of Side Show closed up shop after less than 100 performances, the show's marquee continued to grace the Richard Rodgers Theatre and rumors spread that Henry Krieger (music) and Bill Russell's (book/lyrics) musical inspired by the lives and vaudeville careers of conjoined twins Daisy and Violet Hilton would return to Broadway. After all, it did receive a good deal of positive notices and word of mouth helped build a loyal fan base that packed the theatre and lustily cheered on its final performances.

But Broadway audiences showed little interest in a musical about what is generally referred to as Siamese twins. Still, the original cast album and subsequent regional productions helped cultivate Side Show's reputation as cult musical; an adventurous flop that deserved a second chance.

Well, that second chance has come, but not without a lot of changes.

The original production, directed by Robert Longbottom was a bit subversive and styled with a downtown attitude. The set of bleachers that dominated the set and the ensemble of carnival "freaks" who resembled Coney Island performers in costumes, conveyed a fresh do-it-yourself feel. It certainly had its flaws, but the original Side Show was thick with emotions, especially when the sisters closed the first act with the heart-breaking anthem "Who Will Love Me As I Am?" and high-belted their heart-lifting 11 o'clocker "I Will Never Leave You." (Both written with pop lyrics that can easily be sung out of context.)

For the new Broadway production, director Bill Condon is credited for teaming with Russell on substantial book revisions that give more substance to the supporting characters and add depth to Daisy and Violet's story. Though some awkward moments remain (and Condon makes a baffling staging choice late in the game), Side Show is a much-improved musical with a lovely message of acceptance and perseverance and a score that includes some gorgeous ballads and fun novelty songs.

The musical still opens in 1920's Texas with the confrontational siren song, "Come Look At The Freaks," as the carnival showman known as Sir (Robert Joy, exuding some empathy beneath his sliminess) introduces the weird wonders on view in his odditorium. Costume designer Paul Tazewell has done a beautiful job of making attractions like the bearded lady, the half man/half woman, the three-legged man and, of course, the Siamese twins resemble the painted posters you'd see draped around Side Show tents.

The shy Violet (Erin Davie) wishes for a normal life with a husband and kids while Daisy (Emily Padgett) dreams of fame and fortune. They've learned to compromise and sacrifice throughout their lives, so when down and out showbiz agent Terry (Ryan Silverman) tries to sweet talk the pair into letting him book them in vaudeville, Violet goes along with it for her sister's sake.

Her enthusiasm grows when she starts falling for Buddy (Matthew Hydzik), the cute choreographer/performer hired to whip up an act. Daisy is attracted to Terry and for the first time the sisters start seriously considering how they would handle love and sex if one or both of them got married.

Padgett and Davie make for a charming pair as their characters grow from impressionable young ladies longing for a man's love to strong-willed women who need nobody but each other.

Hydzik makes for a peppy song and dance man, but Silverman has his work cut out for him, playing the unsympathetic Terry who is saddled with the score's major misstep, the over-the-top "Private Conversation," where his attraction for Daisy battles his repulsion for her condition.

David St. Louis' deep rich vocals are put to beautiful use in the score's finest moment, the romantic "You Should Be Loved." St. Louis plays the grim and muscular Jake, who was hired by Sir to keep the twins safe and then recruited by Terry to help out backstage. Jake is in love with Violet and is perfectly willing to commit himself to her exactly how she is, but Jake is black and Violet doesn't think she can handle the difficulties of a mixed-race marriage.

Times and tastes change and with 17 years of cult status behind it, perhaps Side Show can now find Broadway audiences willing to love it as it is.

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