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".)
Refashioned for the 'High School Musical' generation, 'Gigi' has been scrubbed and polished so that its heroine is now sassy, headstrong, and spunkier than a barrel of Disney princesses. The one thing she's not is French, and, of course, there's nothing terribly risqué or even controversial about her situation anymore. As Gigi, Vanessa Hudgens sings and moves well and looks stunning, and if ever they get around to turning 'Pretty Woman' into a Broadway musical, she won't have to change a thing...That Gigi holds out for marriage and the greater security it provides, well, that's the real story of a modern material girl. Despite presenting such a newly ambivalent character, Clark emerges as the only actor on stage who evokes turn-of-the-century Paris...While Cott has a great singing voice, his tenor turns squealy when he shows much emotion, and at times he comes off more petulant than Gigi herself. Since it involves such a small directorial touch...couldn't Hudgens's all-American rambunctiousness been dialed back a bit?
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.
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