Bullets Over Broadway BROADWAY REVIEWS

• NEW YORK TIMES REVIEW OF Bullets Over Broadway

  

  The Chanteuse and the Gun Are Loaded | Woody Allen Transforms His ‘Bullets Over Broadway’

  Ben Brantley

  April 10, 2014: Some things were never meant to be shouted through megaphones. On the basis of Bullets Over Broadway: The Musical, the occasionally funny but mostly just loud new show that opened at the St. James Theater on Thursday night, that would include the wit of Woody Allen. This production, directed in heavy italics by Susan Stroman and featuring a score of 1920s standards and esoterica, is inspired by Mr. Allen’s 1994 film of the same title. It features the same story line, most of the same characters and much of the same dialogue. Yet while the movie was a helium-light charmer, this all-talking, all-singing, all-dancing reincarnation is also all but charm-free. The experience of watching the film was like being tickled, gently but steadily, into a state of mounting hysteria. From the get-go, the musical version, which stars a credible Zach Braff (doing Mr. Allen) and a misused Marin Mazzie (doing Norma Desmond), feels more like being head-butted by linebackers. Make that linebackers in blinding sequins.

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• VARIETY REVIEW OF Bullets Over Broadway

  

  Broadway Review: ‘Bullets Over Broadway’

  Marilyn Stasio

  April 10, 2014: Everyone hoped Bullets Over Broadway would be the show to get those flickering Broadway lights blazing again. In certain wonderful ways — Susan Stroman’s happy-tappy dance rhythms, the dazzling design work on everything from proscenium curtain to wigs, and a fabulous chorus line of dancing dolls, molls and gangsters — Woody Allen’s showbiz musical is the answer to a Broadway tinhorn’s prayer. Surprisingly, though, the book (from Allen’s own screenplay for his 1994 film) is feeble on laughs, and certain key performers don’t seem comfortable navigating the earthy comic idiom of burlesque. So, let’s call it close — but no cigar. Bullets is that rarity, a musical without an original score. But the two dozen vintage songs culled from the Tin Pan Alley archives to fit the 1920s timeframe have been chosen with as much intelligence as affection.

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• NEW YORK DAILY NEWS REVIEW OF Bullets Over Broadway

  

  ‘Bullets Over Broadway’: Theater review

  Joe Dziemianowicz

  April 10, 2014: Showgirls dressed like frisky tigers shake their moneymakers near the beginning of Woody Allen’s Bullets Over Broadway — and they’re a symbol, for this musical certainly works its tail off to tickle and delight. It’s too bad that the comedy about a playwriting hit man is a bit of a miss. On the plus side, director and choreographer Susan Stroman’s dance numbers pack sure-footed pizzazz. And the good-looking production depicts 1929 New York with wit and grace notes. A theater proscenium decorated with living angels is a lovely little touch.

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• NBC NEW YORK REVIEW OF Bullets Over Broadway

  

  "Bullets" Review: Woody Allen, Susan Stroman Musical Hits its Target

  Robert Kahn

  April 10, 2014: A gangster appears at the start of Bullets Over Broadway, firing an automatic weapon into the curtain and slowly revealing the musical’s title in the brightly lit “bullet holes” he’s just carved out. It’s the first of countless attention-seizing moments in the terrific new screwball thriller from perfectionist duo Susan Stroman and Woody Allen. Now open at the St. James Theatre, Bullets Over Broadway is a zany, old-fashioned spectacle that features the Broadway debut of actor-writer Zach Braff and a marvelous turn from three-time Tony nominee Marin Mazzie as an aging diva with a signature plea: “Don’t speak!” While not without some curious choices, Bullets is certainly the best of the musicals to open on Broadway so far this season, though make note … it’s a new musical with old music.

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• HOLLYWOOD REPORTER REVIEW OF Bullets Over Broadway

  

  Bullets Over Broadway: Theater Review

  David Rooney

  April 10, 2014: There's a ton of talent onstage in Bullets Over Broadway, evident in the leggy chorines who ignite into explosive dance routines, the gifted cast, the sparkling design elements and the wraparound razzle-dazzle of director-choreographer Susan Stroman's lavish production. So why does this musical, adapted by Woody Allen from his irresistible 1994 screen comedy about the tortured path of the artist, wind up shooting blanks? Flat where it should be frothy, the show is a watered-down champagne cocktail that too seldom gets beyond its recycled jokes and second-hand characterizations to assert an exciting new identity.

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• FINANCIAL TIMES REVIEW OF Bullets Over Broadway

  

  Bullets Over Broadway, St James Theatre, New York – review

  Brendan Lemon

  April 10, 2014: “They go wild, simply wild, over me,” sings Helen Sinclair, an ageing diva, in a deluded attempt to persuade David Shayne, a fledgling playwright, of her enduring appeal. Sinclair, portrayed by the wonderfully self-assured Marin Mazzie, is one of the reasons to see Bullets Over Broadway, the new musical birthed by Woody Allen from his 1994 movie of the same title. The Broadway show makes a Sinclair-sized effort to persuade us of the value of early-20th-century songs shoehorned into a 1929 setting. The attempt is intermittently enjoyable, extremely well crafted by the director/choreographer Susan Stroman, and progressively unthrilling.

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• AM NEW YORK REVIEW OF Bullets Over Broadway

  

  'Bullets Over Broadway' is mildly entertaining but not a blockbuster

  Matt Windman

  April 10, 2014: In an ideal universe, the new musical Bullets Over Broadway, based on the 1994 Woody Allen film, would shut down for a few months so that a talented songwriter – perhaps David Yazbek (Dirty Rotten Scoundrels or the young team of Benj Pasek and Justin Paul (A Christmas Story) – could pen an original score for it. To its credit, Bullets Over Broadway is mildly entertaining. But given that it has been directed and choreographed by Susan Stroman (The Producers) and has a script by Allen himself, everyone was expecting it to be a knock ‘em dead musical comedy blockbuster.

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