Amazing Grace is a new original musical based on the awe-inspiring true story behind the world's most beloved song. A captivating tale of romance, rebellion and redemption, this radiant production follows one man whose incredible journey ignited a historic wave of change.
John Newton (Tony Award nominee Josh Young), a willful and musically talented young Englishman, faces a future as uncertain as the turning tide. Coming of age as Britain sits atop an international empire of slavery, he finds himself torn between following in the footsteps of his father-a slave trader-or embracing the more compassionate views of his childhood sweetheart (Erin Mackey). Accompanied by his slave, Thomas (Tony Award winner Chuck Cooper), John embarks on a perilous voyage on the high seas. When that journey finds John in his darkest hour, a transformative moment of self-reckoning inspires a blazing anthem of hope that will finally guide him home.
this earnest but plodding musical by Broadway newcomers needs lifelines of its own...The jumbled book, a joint effort by Smith and playwright Arthur Giron, is another issue. The creators have good instincts about a story worth telling. But their reach exceeds their grasp. Songs by Christopher Smith are serviceable but lack significance and surprise. You can hear the boilerplate lyrics coming a mile away. Even the potential power ballads don't have the structure to make an impact...the production self-sabotages with mood shifts...'Amazing Grace' has come to Broadway. But it still hasn't found its way.
Unfortunately, while aspects of Newton's tale are indeed noteworthy, maybe even amazing, the musical itself unfolds as an overstuffed history lesson trimmed in melodrama, with a standard-issue romantic subplot and some dutiful attempts to explore the lives of the slaves (although the focus remains squarely and maybe a little uncomfortably on the British characters)...Smith's score is pleasant and serviceable...'Amazing Grace' isn't particularly subtle when it comes to psychology, or, for that matter, exposition...Nor does the plot avoid some faintly preposterous excesses...r. Hewitt and Mr. Cooper, both stalwart musical theater veterans, give forceful renderings of their minimally drawn characters. Ms. Mackey's pure, radiant soprano delights the ear...Mr. Young's tenor matches Ms. Mackey's in its bright, limpid richness - although I couldn't help but imagine that if a Ken doll could sing, its timbre would be similar...The song is simple, beautiful, immortal; the musical, not so much.
| 2014 | Chicago |
World Premiere Production Chicago |
| 2015 | Broadway |
Original Broadway Production Broadway |
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