Set in the magical world of La Belle Epoque in turn-of-the-century Paris, GIGI is a timeless romantic comedy about a young woman groomed in the custom of her family to be a companion to a bored, wealthy playboy, until the two unexpectedly realize this is in fact true love.
This year marks the 40th Anniversary of the debut of Gigi on Broadway. Lerner and Loewe's Tony Award-winning score was first heard in the 9-time Academy Award-winning Best Picture of the same name, directed by Vincente Minnelli. The movie, which was the last of the classic MGM musicals, was based on the Broadway play by Anita Loos and the popular novella by Colette.
Alan Jay Lerner and Frederick Loewe's beloved musical GIGI will return to Broadway in a production directed by Tony Award-nominee Eric D. Schaeffer (Follies), in a new adaptation by acclaimed British playwright and Emmy-nominated screenwriter Heidi Thomas ("Cranforde," "Upstairs Downstairs," "Call the Midwife".)
...Thomas has gone about jiggling Colette's story of a young girl being trained as a courtesan and a rich family friend who grow over time into lovers. But the misguided Thomas only succeeds in denaturing Colette so that Gigi (Vanessa Hudgens), now older, and eventual swain Gaston Lachaille (Corey Cott), now younger, progress to a happy ending with any number of destructive changes to the story...The damage that politically correctness has done to the arts only worsens as time goes on...Clark shows off her clarion voice and otherwise does okay as Madame Alvarez, or Mamita...McGillin smiles well as the compering Honoré Lachaille. His duet with Clarke on 'I Remember It Well' is the one musical highlight. Cott does passably as Gaston...Firstly, congratulations to [Hudgens] for taking on a role associated in the mind of many a Gigi fan with Audrey Hepburn and Leslie Caron. She sings perfectly well and dances nicely. She does everything competently, but as Gigi she doesn't have the essential ingredient: charm. If it comes to that, this whole Gigi is lacking in charm, if not nerve.
The production's desperation to appeal to tweens instead of their parents results in a disastrous if not deliberate misreading of the tale. Perhaps that wouldn't matter if the show worked on its own terms, but it did not in 1973 when Lerner brought Loewe out of retirement to expand the movie into a stage property, and it certainly doesn't now. There is still, mercifully, the score, which even if all jumbled about still contains five truly great songs and several good ones too. (Most of the newly interpolated ones are distinctly third-drawer, however.) And visually there is much to admire. Derek McLaine's Art Nouveau settings are an elegant solution to the problem of a story in which one of the stars is Paris itself; Catherine Zuber's costumes are a marvel of shapeliness, accuracy, and detail. (That's a good thing in a show that often fails to hold the attention; you can always count buttons.) But most of the other decisions made by the creative team - the director is Eric Schaeffer - reduce rather than enhance the story.
| 2015 | Washington, DC (Regional) |
Kennedy Center Production Washington, DC (Regional) |
| 2015 | Broadway |
Broadway Revival Broadway |
| Year | Ceremony | Category | Nominee |
|---|---|---|---|
| 2015 | Drama Desk Awards | Outstanding Costume Design | Catherine Zuber |
| 2015 | Outer Critics Circle Awards | Outstanding Featured Actress in a Musical | Victoria Clark |
| 2015 | Tony Awards | Best Performance by an Actress in a Featured Role in a Musical | Victoria Clark |
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