Theater review: WOMEN ON THE VERGE OF A NERVOUS BREAKDOWN

November 22, 2010

My review of Lincoln Center Theater’s world premiere original musical adaptation of Women on the Verge of a Nervous Breakdown has been posted today on CultureVulture.net.

“A Broadway musical version of Pedro Almodóvar’s first big hit movie sounds like so much fun, doesn’t it?…And yet the finished product is no fun at all. I would bet that almost everyone who walks into the Belasco Theater walks out with a slight headache from straining to love a show that just can’t be loved.”

You can read the complete review online here.

One Response to “Theater review: WOMEN ON THE VERGE OF A NERVOUS BREAKDOWN”

  1. Steve V. Says:

    Hey there, Don. When you write, “I think the fatal error of the musical is that there weren’t enough gay guys involved in its creation,” it’s clear that we live in a brave new world of musical theater. The creators of W.O.T.V.O.A.N.B., excepting Bartlett Sher,
    aren’t prominent enough names in my own personal theatrical “Who’s Who,” to have ever caused me to consider what their sexual orientation might, or might not, be. You seem to be in the know, and
    I assume that your sources on the subject are unimpeachable. I wonder when we entered the era when theater artists’ sexual orientation became a matter of public knowledge (even if only to a
    rather limited public).

    Did Walter Kerr and Brooks Atkinson “know” about Cole Porter, Noel Coward and Larry Hart when those giants were still alive and working? If they did, would they have dared even imply it to their readers? I think the answer is an obvious “Yes,” to the first question and an equally obvious “No” to the second.

    I guess I’m glad that times have changed regarding the relative frankness of our “public” acowledgment of essentially private behavior. (Let’s not get into a discussion of whether our sexual orientation is a matter of behavior or not, okay? I know it isn’t, strictly speaking, but in actual fact, it’s what usually tips our hand to others, once they find out.) Are any of Women’s (apparently)
    hetero creative team identifiable as such, absent any outward show of interest in the opposite sex? Consider that a rhetorical question.

    I just wish we still had the likes of Porter, Coward and Hart (bless their closeted hearts)to write our musicals. I, for one, would love to see what Porter could have made of Almodovar’s movie.


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