Good, Glorious, Good: Cameron Mackintosh's New Oliver! Deserves its Exclamation MarkWhat the Dickens? Matthew Bourne helms a dazzling revival that's thrilling London audiences
What’s the buzz? Join The Broadway Maven for a FREE deep dive into Andrew Lloyd Webber and Tim Rice’s blockbuster rock opera Jesus Christ Superstar Monday, February 3 at Noon and 7 pm ET. Delve into this groundbreaking show’s music, themes, and cultural impact. Analyze its portrayal of biblical events, character development, and Lloyd Webber's iconic score. Included once again is musical analysis by Mateo Chavez Lewis.
Shalom, Broadway lovers!In today’s MARQUEE: The Broadway Maven’s Weekly Blast: A) a review of London’s current revival of Oliver!; B) a Broadway Maven YouTube GEM about the time signatures in CATS; C) a Broadway Blast about Sondheim’s Company; D) a student review of the current Israeli production of “Hi, Evan Hansen” — the local title; E) a homework video about Andrew Lloyd Webber’s funniest song, to help students prepare for Monday’s FREE class on Jesus Christ Superstar; and F) a Last Blast about Hamilton.
REVIEW: Where is love? In London, it seems, based on the audience reaction to the engaging, engrossing, and dance-heavy revival of Oliver!. The Cameron Mackintosh production, which opened earlier this month, earns the exclamation point of its title through musical extravagance, exquisite production values, and sheer force of will. It's an important show that's not quite as familiar to Broadway audiences. The last "full" Broadway revival, in 1984, ran just 17 performances, though Encores! produced the show for a few weeks in 2023. The Londoners I sat among, though, clearly knew the characters and the songs quite well and responded with enthusiasm from start to finish. Since the show is directed by choreographer Matthew Bourne, the urchins, pickpockets, and other denizens of London's Dickensian underground move with verve and flair that is rare even for the West End's storied stages. The performer I saw in the title role (one of four rotating young actors) did a perfectly serviceable job, but he didn't seem to be having nearly as much fun as two standout performers in this cast: Billy Jenkins as the dapper Artful Dodger who takes poor Oliver Twist under his wing and Simon Lipkin as Fagin, who insists the boys who follow him "pick a pocket or two." The problems with this production of Oliver! apply to any mounting of this flawed show: a title character who is one of the most passive in musical theater and a villain who is so irredeemable he's rather boring. We can blame Charles Dickens for some of that, but composer-lyricist-book writer Lionel Bart's awkward merging of the classic 19th century novel with the musical theater tradition also contributes to the problem. It's not even clear that Oliver is the protagonist—Fagin gets the 11 o'clock number, "Reviewing the Situation," which reveals a genuine character arc, something Oliver barely evinces. And unlike Javert, Judge Turpin, or the Phantom of the Opera Bill Sikes has no clear motivation for his evildoing. But consider yourself forewarned: Bourne and Mackintosh understand the source material and its structural issues with this musical they clearly love, even if they didn't choose to rename it "Fagin!" BROADWAY MAVEN YouTube GEM: The whisper down the line may be at 11:39, but the song is actually in 13/8. Andrew Lloyd Webber's CATS uses a lot of interesting time signatures, with "Skimbleshanks, the Railway Cat" being a standout example. In this Piano Talk, Broadway Maven co-host Mateo Chavez Lewis demonstrates how a song in 13/8 time can be so effective.  BROADWAY BLAST: In Company, when Bobby's girlfriends sing of "a person that titillates a person and then leaves her flat" in "You Could Drive a Person Crazy," the lyric can be seen as a sly double entendre in the tradition of Cole Porter. The lyrics pair “titillates” with the disappointment of being left "flat"—a possible nod to breasts and the sense of deflation Bobby’s girlfriends feel after their brief encounters with him. Sondheim uses this wordplay to emphasize how Bobby brings excitement but lacks follow-through, leaving his girlfriends unfulfilled both romantically and emotionally. The line serves as a witty reflection of Bobby’s habit of offering only fleeting interest, ultimately leaving each relationship devoid of depth or satisfaction. STUDENT REVIEW: The Israeli production of Dear Evan Hansen (actually translated as Hi, Evan Hansen) is a powerful adaptation of the Tony Award-winning musical, featuring exceptional performances and a talented cast. While some of the actors playing high school students were clearly significantly older than their characters, their skill and emotional depth more than compensated for the problem. The production made clever use of the show's iconic screen staging, showcasing live video calls whenever Evan connected with other characters. This allowed the audience to see their facial expressions up close, adding an extra layer of intimacy. I also enjoyed the incorporation of audience participation during the show's pivotal "Connor Project" assembly. Flyers were handed out to the crowd, and a sign reading אפשר לצלם (“Efshar lezalem," meaning “You may film”) invited us to feel part of the story, blurring the line between the theater audience and the fictional assembly. Some interesting translation choices were made to fit the melodic structure of the songs: “I will sing no requiem, tonight” became “I don’t want to cry anymore now” (Lo rotza livcot achshav, yoter). “You will be found” turned into “The sun will rise” (Hashemesh tizrach). As a bilingual audience member and fan, I found the changes added a layer of meaning while preserving the emotional resonance of the originals. One important change: The production excluded the song “To Break in a Glove," perhaps because baseball is not terribly familiar to Israeli audiences. While it’s a song I love, the omission didn’t disrupt the show’s flow. -Dan Berlfein, Maven Scholar Fall '24
HOMEWORK: Andrew Lloyd Webber's funniest number, "King Herod's Song," is so delightful in part because it can be interpreted effectively in so many ways. For your homework for Monday's FREE class on Jesus Christ Superstar, watch these five versions of the introduction to the song and rank them from your most to least favorite.  MEMBERSHIP: Broadway Maven Membership is just $18 a month and includes 5-15 classes and other expert-led Broadway experiences, plus a password to the Clips Archive and periodic giveaways to Broadway and off-Broadway shows, including at least one opening-night performance and party. Upcoming Members-only classes include a Watch Party for A Gentleman’s Guide to Love and Murder in which we watch it with the man who won a Tony for writing it: Robert L. Freedman, and four Sondheim classes led by Gail Leondar-Wright. Also in February: “Hamilton from the Top” with Juilliard Prof. Edward Barnes and a trivia party. Join this vibrant learning community at the button below. It’s your home for Broadway appreciation!
Members-only “Sondheim Under the Hood” course with Gail Leondar-Wright Tuesdays in February:Everybody rise! Sondheim expert Gail Leondar-Wright will be teaching a four-part series about The Master in February for Broadway Maven members. (New Members need to sign up for three months at $54 to be eligible for her class.) Here’s Gail on why you should attend this particular tale:
Note: A full calendar of upcoming classes is always available at TheBroadwayMaven.com.• Sunday, February 2 Noon ET Watch Party: A Gentleman’s Guide to Love and Murder with SPECIAL GUEST Tony-winning book writer and co-lyricist Robert L. Freedman (yeah, we’re watching it with the guy who wrote it). (Members only) • Monday, February 3 Noon and 7 pm ET Jesus Christ Superstar (FREE, register here) • Tuesday, February 4 7 pm ET Sondheim Under the Hood part one with Gail Leondar-Wright Members only (with a three-month commitment) • Tuesday, February 11 7 pm ET Sondheim Under the Hood part two with Gail Leondar-Wright Members only (with a three-month commitment) • Sunday, February 16 10 am ET “Hamilton: From the Top” with Juilliard Prof. Edward Barnes (Members only) • Tuesday, February 18 7 pm ET Follies with Gail Leondar-Wright Members only (with a three-month commitment) • Tuesday, February 25 7 pm ET Road Show with Gail Leondar-Wright Members only (with a three-month commitment) • Thursday, February 27 Noon and 7 pm ET Trivia Party for Members
LAST BLAST: In Hamilton, the character of King George III serves not just as comic relief but as a symbolic representation of outdated institutions resisting inevitable change. His musical style—a British Invasion pop sound reminiscent of The Beatles—contrasts sharply with the hip-hop and R&B styles of the revolutionaries. It's like he's the terribly un-hip grandfather fussily refusing to accept the day's musical language. This musical dichotomy underscores the generational and ideological divide, highlighting how clinging to the past can render one obsolete in the face of progress. The Broadway Maven is a vibrant educational community that helps its members think more deeply about musical theater. Every month, members may attend 5-15 expert-led classes and innovative Broadway experiences, all for just $18. We also foster enthusiasm for Broadway through the FREE weekly substack newsletter MARQUEE and host an expansive YouTube channel. It's your home for Broadway appreciation. Contact The Broadway Maven at DavidBenkof@gmail.com. You're currently a free subscriber to MARQUEE: The Broadway Maven's Weekly Blast. For the full experience, upgrade your subscription.
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Good, Glorious, Good: Cameron Mackintosh's New Oliver! Deserves its Exclamation Mark
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