Based on the legendary Hilton twins, Daisy and Violet, SIDE SHOW follows their heartwarming search for first love and acceptance amidst the spectacle of fame and scrutiny under the spotlight. The world of SIDE SHOW is set against the backdrop of 1920's and '30s show business that seamlessly blend the worlds of carnival, vaudeville, and Hollywood glamour.
Directed by Academy Award-winner Bill Condon (Chicago, Dreamgirls, Twilight: Breaking Dawn Parts 1 and 2, Gods and Monsters) making his Broadway debut, this exciting new staging of SIDE SHOW has "the flash and velocity of a Hollywood motion picture" and "puts gripping emotion in the main tent" (Los Angeles Times).
Don't miss this remarkable true story of two sisters. The very thing that makes them different... makes them extraordinary.
If ever there was a show that defines the phrase 'cult musical', it's Side Show...If you saw Side Show the first time around, you may not recognize it...And if you didn't see it the first time around, you're likely to leave asking: what was all the fuss about? Certainly not this leaden, sporadically moving update -- which bears little resemblance to the original production...in giving the girls a backstory...Condon subverts the show's momentum...One aspect such revisions have not messed with: the two linchpins of Side Show's score, the twins' power-ballad duets 'Who Will Love Me As I Am?' and 'I Will Never Leave You', both as heart-stopping (and tear-jerking) as ever, and Padgett and Davie are never more connected than they are in those moments...But in making Daisy and Violet's connection literal, the production robs us of a chance to fully relate to the sisters -- even if it is just, as Houdini sings, 'all in the mind.' C
Condon shows musical-theater veterans how it's supposed to be done...Back in 1998, the Tonys nominated the two actors playing Daisy and Violet, but gave them only one nomination to share. It's a credit to Condon, Davie, and Padgett that the Tonys probably won't repeat that mistake; these are two utterly different, equally riveting performances, and Davie and Padgett take divergent paths to win our empathy...Henry Krieger's songs, a few of them new, never sounded this good...Krieger's plaintive melodies now have their own space in which to shimmer. Not fixed, unfortunately, are some of Russell's more pedestrian lyrics, which bring ordinary rhymes to some very extraordinary emotions. But those looking for perfection in the arts should stay home and read Yeats. 'Side Show' now takes its place in the pantheon of great American musicals.
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