{"id":812,"date":"2019-01-10T08:43:14","date_gmt":"2019-01-10T08:43:14","guid":{"rendered":"https:\/\/cherscholar.com\/cherblog\/the-cher-show-on-broadway\/"},"modified":"2023-02-20T08:16:47","modified_gmt":"2023-02-20T15:16:47","slug":"the-cher-show-on-broadway","status":"publish","type":"post","link":"https:\/\/cherscholar.com\/cherblog\/2019\/01\/the-cher-show-on-broadway\/","title":{"rendered":"The Cher Show on Broadway"},"content":{"rendered":"<p><span style=\"font-weight: 400;\"> <a class=\"asset-img-link\" href=\"https:\/\/cherscholar.com\/cherblog\/.a\/6a00d8341d6c7753ef022ad3877237200c-popup\" onclick=\"window.open( this.href, &#39;_blank&#39;, &#39;width=640,height=480,scrollbars=no,resizable=no,toolbar=no,directories=no,location=no,menubar=no,status=no,left=0,top=0&#39; ); return false\" style=\"float: left;\"><img data-recalc-dims=\"1\" decoding=\"async\" alt=\"The-cher-show-chicago-opening-night-2018-06-hr\" class=\"asset  asset-image at-xid-6a00d8341d6c7753ef022ad3877237200c img-responsive\" src=\"https:\/\/i0.wp.com\/cherscholar.com\/cherblog\/wp-content\/uploads\/2023\/02\/6a00d8341d6c7753ef022ad3877237200c-250wi.jpg?w=676&#038;ssl=1\" style=\"width: 250px; margin: 0px 5px 5px 0px;\" title=\"The-cher-show-chicago-opening-night-2018-06-hr\" \/><\/a>I\u2019m going to see this show in a few weeks (as well as <em>Network <\/em>with Bryan Cranston!) so I\u2019ll probably have more to say about it then; but along with many other Cher things, the real impact of this remains to be seen. I, myself, love musicals. But jukebox musicals seems kind of odd to me so I\u2019m not 100% the perfect audience for this. Regardless, any kind of Cher bio has the <em>potential<\/em> to reveal some aspect of the Cher phenomenon (so similar to the <a href=\"https:\/\/www.youtube.com\/watch?v=byg5mNmxXWU\">Tony Ferrino Phenomenon<\/a><\/span><span style=\"font-weight: 400;\">) that we haven&#39;t been able to pin down yet, although many new writers are trying (which is much appreciated in Cher scholarship). <\/span><\/p>\n<p><span style=\"font-weight: 400;\">I\u2019ll talk about all that more next week or so when I get into all the Cher essays that have been pouring out. These have been very informative, especially in how they speak back to this Broadway show and how it fails or succeeds.&#0160;<\/span><\/p>\n<p><span style=\"font-weight: 400;\">But for the moment, let\u2019s just deal with the initial reviews of the show and how it\u2019s doing right now. <\/span><\/p>\n<p><span style=\"font-weight: 400;\">You can keep track of the show\u2019s weekly grosses here: <\/span><a href=\"https:\/\/www.broadwayworld.com\/grosses\/THE-CHER-SHOW\"><span style=\"font-weight: 400;\">https:\/\/www.broadwayworld.com\/grosses\/THE-CHER-SHOW<\/span><\/a><\/p>\n<p><span style=\"font-weight: 400;\"><a href=\"https:\/\/broadwaymerchandiseshop.com\/stores\/cher\/\">Show merch<\/a> is also available,<\/span><\/p>\n<p><span style=\"font-weight: 400;\">You can also follow the show on <a href=\"https:\/\/www.facebook.com\/TheCherShow\/\">Facebook<\/a>.<\/span><\/p>\n<p><span style=\"font-weight: 400;\">Jerrod Spector is also doing a video blog with very cool behind the scenes footage called <a href=\"https:\/\/www.youtube.com\/results?search_query=jarrod+spector\">It\u2019s Always Sonny<\/a>.<\/span><\/p>\n<h4><strong>News<\/strong><\/h4>\n<p><span style=\"font-weight: 400;\">On opening night, <a href=\"https:\/\/www.nytimes.com\/2018\/12\/03\/theater\/kanye-west-cher-show-cellphone.html\">Kayne West and Kim Kardashian made news at the show<\/a>.<\/span><\/p>\n<p><span style=\"font-weight: 400;\">There was also red carpet videos with the cast and prominent audience members like Rosie O\u2019Donnell, Kathy Griffin and Bernadette Peters doing a Cher impression (remember she was on <em>The Sonny &amp; Cher Show&#39;s<\/em> Christmas episode of 1976). Young Cher says&#0160; that Cher is a planet with gravitational pull. Cher herself says she doesn\u2019t know what the theme of her show is beyond just entertainment:&#0160;<\/span><a href=\"https:\/\/www.youtube.com\/watch?v=Xk9-lQa57OI\"><\/a><\/p>\n<ul>\n<li><a href=\"https:\/\/www.youtube.com\/watch?v=Xk9-lQa57OI\">https:\/\/www.youtube.com\/watch?v=Xk9-lQa57OI<\/a>&#0160;&#0160;<\/li>\n<li><a href=\"https:\/\/www.youtube.com\/watch?v=NrsxYrwybvc\">https:\/\/www.youtube.com\/watch?v=NrsxYrwybvc<\/a><\/li>\n<\/ul>\n<p><span style=\"font-weight: 400;\">Cher singing with the cast: <\/span><a href=\"https:\/\/www.youtube.com\/watch?v=Vpo5bo-rqfw\"><span style=\"font-weight: 400;\">https:\/\/www.youtube.com\/watch?v=Vpo5bo-rqfw<\/span><\/a><span style=\"font-weight: 400;\"> &#0160;(the cast looks starstruck performing with her).<\/span><\/p>\n<p><span style=\"font-weight: 400;\">More audience Q&amp;A, Rosie O\u2019Donnell calls out Cher\u2019s Westside Story performance, Bernadette Peters says Cher took chances, is glamourous and down to earth), Tiny Fey says she watched the show growing up and wanted to work on a variety show like that: <\/span><a href=\"https:\/\/www.youtube.com\/watch?v=_FQ4YWakLsE\"><span style=\"font-weight: 400;\">https:\/\/www.youtube.com\/watch?v=_FQ4YWakLsE<\/span><\/a><\/p>\n<p>Another <a href=\"https:\/\/www.aol.com\/article\/entertainment\/2018\/12\/04\/cher-says-sonny-bono-would-be-laughing-his-a-off-over-her-broadway-show-exclusive\/23608448\/\">AOL p<\/a><span style=\"font-weight: 400;\"><a href=\"https:\/\/www.aol.com\/article\/entertainment\/2018\/12\/04\/cher-says-sonny-bono-would-be-laughing-his-a-off-over-her-broadway-show-exclusive\/23608448\/\">ost show interview<\/a> with Cher.&#0160;<\/span><\/p>\n<p><span style=\"font-weight: 400;\">A <em>Rolling Stone <\/em>piece on <a href=\"https:\/\/www.rollingstone.com\/culture\/culture-news\/chaz-bono-cher-show-broadway-musical-775982\/\">Chaz Bono\u2019s recent visit<\/a> and speculation about the lack of his transgendering story in the show.&#0160;<\/span><\/p>\n<h4><strong><br \/><a class=\"asset-img-link\" href=\"https:\/\/cherscholar.com\/cherblog\/.a\/6a00d8341d6c7753ef022ad3ad90c5200d-popup\" onclick=\"window.open( this.href, &#39;_blank&#39;, &#39;width=640,height=480,scrollbars=no,resizable=no,toolbar=no,directories=no,location=no,menubar=no,status=no,left=0,top=0&#39; ); return false\" style=\"float: right;\"><img data-recalc-dims=\"1\" decoding=\"async\" alt=\"Cher-at-show\" class=\"asset  asset-image at-xid-6a00d8341d6c7753ef022ad3ad90c5200d img-responsive\" src=\"https:\/\/i0.wp.com\/cherscholar.com\/cherblog\/wp-content\/uploads\/2023\/02\/6a00d8341d6c7753ef022ad3ad90c5200d-350wi.jpg?w=676&#038;ssl=1\" style=\"width: 350px; margin: 0px 0px 5px 5px;\" title=\"Cher-at-show\" \/><\/a>Reviews<\/strong><\/h4>\n<p><span style=\"font-weight: 400;\">One of the best early reviews was from <a href=\"https:\/\/nypost.com\/2018\/12\/03\/the-cher-show-will-leave-you-feeling-moonstruck\/\"><strong>The New York Post<\/strong><\/a>:&#0160;<\/span><\/p>\n<p style=\"padding-left: 40px;\"><span style=\"font-weight: 400;\">\u201cGranted, the jukebox musical that opened on Broadway Monday night has some clumsy and dopey dialogue. The story \u2014 a 50-50 mix of narration (yawn) and not-quite-skin-deep dramatization \u2014 tracing the pop goddess\u2019s personal and professional ups and downs won\u2019t surprise those with even a passing knowledge of Cher. Or access to Wikipedia.<\/span><\/p>\n<p style=\"padding-left: 40px;\"><span style=\"font-weight: 400;\">Still, it\u2019s thrilling watching the 72-year-old diva\u2019s rags-to-riches-and-back-again life woven by wall-to-wall hits \u2014 \u201cBang Bang,\u201d \u201cThe Beat Goes On,\u201d \u201cHalf-Breed\u201d and \u201cBelieve,\u201d among them\u2026.Between director Jason Moore\u2019s flashy, fleshy, fluid staging and choreographer Christopher Gattelli\u2019s high-energy and ridiculously sexy dances \u2014 wait till you see the steamy \u201cDark Lady\u201d \u2014 the production is light on its feet, too\u2026.\u201cThe Cher Show\u201d merits a bright, shiny, bedazzling \u201cB.\u201d Joe Dziemianowicz<\/span><\/p>\n<p><span style=\"font-weight: 400;\">Weeks later, this better review appeared (as a second review) in <strong><a href=\"https:\/\/www.nytimes.com\/2018\/12\/19\/theater\/why-the-cher-show-gets-me-babe.html\">The New York Times<\/a>.<\/strong> <\/span><\/p>\n<p style=\"padding-left: 40px;\"><span style=\"font-weight: 400;\">Laura Collins Hughes calls the show \u201canalgesic fun\u201d (analgesic means painkiller) and that it \u201cdoesn\u2019t meant to be highbrow; the constraints of the genre don\u2019t allow it\u2026.it\u2019s a genre with a quantity of cheese baked in&#8230;.[but the show] takes Cher seriously. She liked that the creators didn\u2019t follow the colon template for jukebox musicals (i.e. <\/span><em><span style=\"font-weight: 400;\">Beautiful: The Carole King Musical, Summer: The Donna Summer Musical, Tima: The Tina Turner Musical, Gloria: A Life)<\/span><\/em><span style=\"font-weight: 400;\">. And although she can\u2019t quite call it a feminist musical, she says &#0160;\u201cwomen\u2026[including the supportive mother] dominate.\u201d And says it\u2019s about \u201chow a famous American came defiantly into her power in a culture that expected demure acquiescence, and who along the way discovered herself&#8230;.[with] clothing being one of the ways that she rebelled.\u201d She says the Cher musical is less tighter in focus than <\/span><em><span style=\"font-weight: 400;\">Beautiful <\/span><\/em><span style=\"font-weight: 400;\">but gives<\/span><em><span style=\"font-weight: 400;\"> Cher Show <\/span><\/em><span style=\"font-weight: 400;\">props for being \u201cspikier\u201d with \u201cmore bantering humor.\u201d And she likes the convention of the three women with their tender tributes between each other and the small moments of historical revisionism (baby Chastity being wrapped in a blue baby blanket). She claims the musical \u201cstrips away her masks to reveal a person underneath.\u201d <\/span><\/p>\n<p style=\"padding-left: 40px;\"><span style=\"font-weight: 400;\">But that said, most of the reviews have not been good. But not good for very interesting reasons (all involving what Cher brings to the table as a performer, but we\u2019ll get into that on a later day). Biopics or bio-theater is really hard to pull off. The movie <\/span><em><span style=\"font-weight: 400;\">Bohemian Rhapsody<\/span><\/em><span style=\"font-weight: 400;\"> is an exception and succeeding primarily for its exceptional casting and for the fact that it contained its narrative into a finite period of dramatic time. You still can\u2019t argue with Aristotle. And arguably, the creators made their bio-story-challenge even harder than it had to be when they tried to run the gamut from Cher as little kid to Cher as old lady. But if you were to ask me what period or Cher-time or what story line in her life is indicative of the whole, I wouldn\u2019t be able to tell you. Big challenge this one. And quite possibly Cher\u2019s life a survivor is due to the fact that her life was spread out over 50 years and not a flame-out or a salacious bit of gossip in a small set of time.<\/span><\/p>\n<p>But anyway, here we go&#8230;<\/p>\n<p><a href=\"https:\/\/www.nytimes.com\/2018\/12\/03\/theater\/the-cher-show-review.html\"><strong>The New York Times &#0160;<\/strong><\/a><\/p>\n<p style=\"padding-left: 40px;\"><span style=\"font-weight: 400;\">\u201cThere\u2019s a fine line between tacky and spectacular. In creating costumes for Cher over the years \u2014 costumes that often tell the story of a shy woman emerging triumphant from a chrysalis \u2014 <\/span><a href=\"https:\/\/www.nytimes.com\/2018\/12\/01\/style\/cher-musical-bob-mackie.html?module=inline\"><span style=\"font-weight: 400;\">the designer Bob Mackie<\/span><\/a><span style=\"font-weight: 400;\"> has kept on the right side of the line by making sure the level of craft supports the extravagance of the gesture.<\/span><\/p>\n<p style=\"padding-left: 40px;\"><span style=\"font-weight: 400;\">Sadly that\u2019s not the case with \u201c<\/span><span style=\"font-weight: 400;\">The Cher Show<\/span><span style=\"font-weight: 400;\">,\u201d the maddening mishmash of a new musical that opened on Monday at the Neil Simon Theater. Except for the dozens of eye-popping outfits Mr. Mackie gorgeously recreates for the occasion, it\u2019s all gesture, no craft: dramatically threadbare and surprisingly unrevealing. That\u2019s too bad because, reading between the paillettes, you get the feeling that the 72-year-old singer-actress-survivor is a good egg: self-mocking, plain speaking and a hoot. Whether that\u2019s enough to build a Broadway musical on is another question, one \u201cThe Cher Show,\u201d striving to be agreeable, never gets close to answering. Rather, its energies are waylaid in trying to solve the puzzle of its own concept, of which weird vestiges remain after <\/span><span style=\"font-weight: 400;\">a tryout in Chicago<\/span><span style=\"font-weight: 400;\">. &#8230;you can\u2019t distinguish scenes meant to borrow comedy-hour elements from those meant to be taken at face value. Complicating matters is the decision to confine such an unconventional figure as Cher in the straitjacket of the biographical jukebox musical [Unlike Funny Girl] \u201cThe Cher Show\u201d falls into all of them. It wastes so much time hammering its biographical bullet points and tunestack into place, despite logic or chronology, that it never seems to notice the unintelligible result&#8230;Though Jarrod Spector gets Sonny\u2019s Napoleon complex just right, he also gives him an adenoidal honk so exaggerated as to render him cute and harmless. Must a musical intended for popular consumption defang the anger of its powerful subject and, in doing so, whitewash her most interesting problems?&#8230;This is where the jukebox problem and the star-splitting problem converge with the craft problem. With too many character arcs and agendas to serve \u2014 three Chers, several careers, 35 songs or parts thereof \u2014 the show\u2019s creators can serve none well&#8230;Yes, it argues way too hard for Cher\u2019s significance \u2014 a significance it would be better off merely assuming and then complicating. And yes, it gets whiny just when you want it to get fierce.\u201d&#0160; Jesse Green<\/span><\/p>\n<p><span style=\"font-weight: 400;\">In all fairness, we find out in this review that the Jesse Green hates jukebox musicals and so was a very problematic choice to review this one. He duly notes this in his review and links to a conversation among theater critics about the flaws of the jukebox genre. It\u2019s worth a read and a chance to note that Mr. Green hates jukebox musicals more than any of the other critic in the conversation:<\/span><span style=\"font-weight: 400;\">&#0160;<\/span><a href=\"https:\/\/www.nytimes.com\/2018\/08\/29\/theater\/jukebox-musicals-broadway.html?module=inline\"><span style=\"font-weight: 400;\">https:\/\/www.nytimes.com\/2018\/08\/29\/theater\/jukebox-musicals-broadway.html<\/span><\/a><\/p>\n<p><a href=\"https:\/\/variety.com\/2018\/legit\/reviews\/cher-show-review-broadway-1203072647\/\"><strong>Variety&#0160;<\/strong><\/a><\/p>\n<p style=\"padding-left: 40px;\"><span style=\"font-weight: 400;\">\u201cChoosing to recreate the spirit of the television variety shows that Sonny and Cher \u2014 and then Cher sans Sonny \u2014 headlined in the \u201870s is a choice that lands as flat as the jokes in <\/span><span style=\"font-weight: 400;\">Broadway<\/span><span style=\"font-weight: 400;\">\u2019s latest jukebox bio&#8230; the script never quite finds a satisfying style \u2014 or a genuine heart \u2014 as a winning stage musical. As Cher might say: <\/span><span style=\"font-weight: 400;\">Broadway<\/span><span style=\"font-weight: 400;\">\u2019s a bitch\u2026.echoing the threesome approach of the <\/span><span style=\"font-weight: 400;\">soon-to-be-shuttered<\/span><span style=\"font-weight: 400;\"> Donna Summer musical. Here there\u2019s a bit more banter in Rick Elice\u2019s sketchy, every-scene-is-a song-cue script\u2026.What \u201c<\/span><span style=\"font-weight: 400;\">The Cher Show<\/span><span style=\"font-weight: 400;\">\u201d rarely does is get real, despite the tell-it-like-it-is attitude of its subject. It only takes itself semi-seriously, keeping genuine emotion at arm\u2019s length. The audience witnesses all of Cher\u2019s struggles \u2014 including the dip into infomercial-land \u2014 and triumphs, but is not especially moved by them, since it\u2019s filtered through the obviousness of the script and the cool aloofness of its protagonist\u2026.The pleasures in the show come from individual performances\u2026\u201d Frank Rizzo<\/span><\/p>\n<p><a href=\"https:\/\/www.timeout.com\/newyork\/theater\/the-cher-show\"><strong>Time Out<\/strong><\/a><\/p>\n<p style=\"padding-left: 40px;\"><span style=\"font-weight: 400;\">\u201c&#8230;the show whirls through six decades at a dizzying pace that disguises, up to a point, that it doesn\u2019t have much to stand on.\u201d Adam Feldman who give it less than a star<\/span><\/p>\n<p><a href=\"https:\/\/ew.com\/theater-reviews\/2018\/12\/03\/the-cher-show-broadway-review\/\"><strong>Entertainment Weekly<\/strong><\/a><\/p>\n<p>&#0160;<\/p>\n<p style=\"padding-left: 40px;\"><span style=\"font-weight: 400;\">\u201cInto the jukebox musical tent pitched by Beatlemania, and since populated by pop stars from Frankie Valli to Gloria Estefan, comes The Cher Show\u2026.If you love Cher there is probably nothing I could write here that would keep you away from The Cher Show. &#0160;No discussion of thin plotting, of costumes changes subbing for character development, or of retro har-har jokes will dissuade true believers looking for a bedazzled good time. Except perhaps this: Why not go see Real Cher who, at 72, looks and sounds at least as much like her younger self as Block does?&#8230;the magnetic Block who, it is worth noting, got her break portraying Liza Minnelli inThe Boy From Oz)&#8230; At this moment The Cher Show feels less like storytelling than like the pop goddess staging her therapy sessions. Other times it seems like her Wikipedia page set to music. What it rarely achieves is becoming a fully realized evening of theater. But it is, in the tradition of the American jukebox musical, a fair simulation. B\u201d &#0160;Allison Adato<\/span><\/p>\n<p><span style=\"font-weight: 400;\"><a href=\"https:\/\/www.thedailybeast.com\/the-cher-show-on-broadway-has-lights-energy-drama-camp-but-no-cher\"><strong>The Daily Beast<\/strong><\/a>&#0160;<\/span><\/p>\n<p style=\"padding-left: 40px;\"><span style=\"font-weight: 400;\">\u201cAnd yet, and yet. Cher is one of the producers of this show, and so what we see on stage of her has been approved by her. This is a personal, curated musical. The dish, such as it is, is strictly portioned. The storylines and phoenix-from-ashes arcs are subject-approved. So, what would <\/span><span style=\"font-weight: 400;\">Cher<\/span><span style=\"font-weight: 400;\"> like us to know about her life? This the musical, very truthfully, never resolves&#8230;relationships with Gregg Allman (Matthew Hydzik) and Rob Camilletti (Michael Campayno) are also surfed through with TV-mini series speed\u2026.As this critic left the show, two people, uninvited, shared their views on the show. One older woman, with a friend, said, \u201cI love Cher. I\u2019ve grown up with Cher. That isn\u2019t Cher.\u201d I asked her why. \u201cIt was like watching a drag act,\u201d she said. \u201cAnd Cher is still alive. That wasn\u2019t\u2026 Cher.\u201d And then outside, a man said he had loved every minute, that is was a worthwhile and fun night out. It was all he had hoped it would be. Eyes lit up, he said he had loved the music, the spectacle, the camp, the jokes. Both were Cher fans, and both summed up my own split feelings about The Cher Show. It\u2019s an enjoyable circus of spectacle and music and familiarity; and it\u2019s also not the same as having the star itself in a big room entertaining everyone. In fact, the most lacking thing is the real story about how, after all the downturns and fallow periods, she did come back to fame. The actual mechanics of those career-re-energizing moments go unexplained\u201d Tim Teeman<\/span><\/p>\n<p><a href=\"https:\/\/www.rollingstone.com\/culture\/culture-news\/cher-broadway-musical-review-762842\/\"><strong>Rolling Stone<\/strong><\/a><\/p>\n<p><span style=\"font-weight: 400;\">The link includes a video of Cher with cast.<\/span><\/p>\n<p style=\"padding-left: 40px;\"><span style=\"font-weight: 400;\">\u201cThe tao of Cher runneth over&#8230;After having seen so many jukebox musicals over the years, I\u2019ve inoculated myself to the knee-jerk criticisms that came easily with so many poor attempts to translate an iconic artist\u2019s songbook and circuitous career to the stage. Up until this point, however, I\u2019ve never witnessed such impressive impersonations \u2014 which is meant as a compliment. Because if the very talented women cast as Cher didn\u2019t give us that, then there would be moms and millennials and a mob of gay men with pitchforks outside the theater calling for producers\u2019 heads. But I\u2019m still left wondering what The Cher Show is exactly. At times it feels like glitzy Las Vegas revue that, if you were to squint, could easily be the best drag show of all time \u2014 although it lacks any actual drag queens. And then, in the second act, it eventually veers into something resembling a clip reel as Cher\u2019s Oscar looks are quickly ticked off and other poor decisions (yes, even the informercials) are exposed until it explodes into a joyous cacophony of sentimental, shameless nothingness. Maybe the production is just a vehicle intended to fulfill a desire to tour forever and to assure us Cher shall never disappear from our lives. Ultimately, I don\u2019t hate The Cher Show since, despite all of the mess, it leaves you wanting to Believe!\u201d Jerry Portwood<\/span><\/p>\n<p><a href=\"https:\/\/www.hollywoodreporter.com\/review\/cher-show-theater-1165871\"><strong>The Hollywood Reporter <\/strong><\/a><\/p>\n<p><span style=\"font-weight: 400;\">The link includes a video montage.<\/span><\/p>\n<p style=\"padding-left: 40px;\"><span style=\"font-weight: 400;\">\u201cThe indestructible Cher managed to escape with her dignity intact earlier this year from the Greek Island shipwreck that was Mamma Mia! Here We Go Again, thanks largely to her powerful shield of self-irony. That armor, along with her talent and charisma, has cocooned the decades-defying supernova throughout her epic career, even helping her make the embarrassing sketch writing on The Sonny &amp; Cher Comedy Hour, back in the early &#39;70s, pass for funny. Her characteristic sleepy-eyed drollery is all over The Cher Show&#8230;The Cher Show also has the distinct advantage of the boss being behind the beaded curtain as a producer, lending a personal investment that carries it through the rough patches and choppy storytelling of Rick Elice&#39;s uneven book. &#8230;Is the show good? Certainly not in the sense of traditional musical-theater craft. Would I see it again? Duh, already planning on it. &#8230;The baby gay millennial sitting a couple seats down from me could not stop fist-pumping, whooping and &quot;yas kween&quot;-ing through the entire performance. That was annoying for a minute but eventually became part of the experience. For all its flaws and unapologetic excesses, I had a blast at The Cher Show, as will any fan.\u201d David Rooney<\/span><\/p>\n<p><a href=\"https:\/\/www.theguardian.com\/stage\/2018\/dec\/03\/cher-show-review-broadway-musical-is-a-mixed-bag-of-pop-excess\"><strong>The Guardian<\/strong><\/a><\/p>\n<p style=\"padding-left: 40px;\"><span style=\"font-weight: 400;\">\u201cTogether they describe the evolution of Cherilyn Sarkisian from southern California ugly duckling to the black swan entertainment queen. This is a straightforward story of female empowerment, though, as crafted by an all-male creative team, it sometimes feels more like a compilation of girl-power pep talks than an individual woman\u2019s singular journey.Mashing song and story together is the great problem of the genre. The Cher Show doesn\u2019t solve it. Rick Elice\u2019s book relies heavily on exposition, with Block often stepping out to narrate key moments or to summon her other selves for a consultation&#8230;It\u2019s so garish and delirious and literally show-stopping, that it highlights the lack of imagination elsewhere and the show\u2019s need to gloss over \u2013 sequin over, brilliantine over \u2013 anything too uncomfortable or hard.\u201d<\/span><\/p>\n<p><a href=\"http:\/\/www.towleroad.com\/2018\/12\/cher-show-review\/\"><strong>Towerload<\/strong><\/a><\/p>\n<p style=\"padding-left: 40px;\"><span style=\"font-weight: 400;\">\u201cIt\u2019s a paradox of the biomusical that reducing an iconic life story into a tidy two acts necessarily flattens its subject. When that subject is a living producer of the show, experiencing a career renaissance at age 72, you can count on seeing the version of that story she would like you to consider her legacy\u2026.It\u2019s a testament to the knockout talents assuming the lead role that the lavish designs don\u2019t swallow them whole.It\u2019s a testament to the knockout talents assuming the lead role that the lavish designs don\u2019t swallow them whole&#8230;The Cher Show doesn\u2019t venture too far outside the box \u2014 doing so runs counter to the project of self-mythologizing inherent to the form. By this point, celebrity narratives are familiar enough in their common course that we recognize the shorthand \u2014 from big break and the spotlight\u2019s harsh glare to fall and final redemption. It\u2019s all here, insofar as the musical\u2019s subject wants to reveal more than what we already know, or may have guessed. As for a deeper understanding of the artist, it\u2019s always been right there in the music.\u201d &#0160;Naveen Kumar<\/span><\/p>\n<p><span style=\"font-weight: 400;\">(Wha???? Cher\u2019s music is rarely biographical.)<\/span><\/p>\n<p><a href=\"https:\/\/www.vulture.com\/2018\/12\/theater-review-how-over-the-top-should-the-cher-show-be.html\"><strong>Vulture&#0160;<\/strong><\/a><\/p>\n<p><span style=\"font-weight: 400;\">This is the best written of the negative reviews so I\u2019ve included a lot of it.<\/span><\/p>\n<p style=\"padding-left: 40px;\"><span style=\"font-weight: 400;\">\u201cIs it possible to be brainwashed by sequins? I was so addled by the finale of The Cher Show that I began to imagine a tiny, spandex-and-spangle-clad devil on my shoulder, poking me behind the ear with a diamond-studded pitchfork and murmuring, \u201cShhh \u2026 You\u2019re having a good time. Just \u2026 believe.\u201d Nice try, but not today, sparkly Satan. The Cher Show is not good. It\u2019s extravagantly, almost triumphantly not good. It\u2019s such a garish, obvious pastiche, such an unabashedly soulless explosion of wigs and trite memoir wisdom, that somewhere in the midst of its overinflated two and a half hours \u2014 probably during one of its dips into stodgy, life-lesson-y sentiment between showstoppers \u2014 you start to wonder: Is this gusher of shamelessness the only thing that could have happened here? Is the show so ludicrous that it\u2019s somehow transcended itself? Is it a victory for camp? It\u2019s Cher, after all. As one of her onstage iterations says to her second husband, the strung-out folk rocker Gregg Allman (or, as this millennial kept thinking of him, Legolas with sideburns), when he tells her she \u201cdoesn\u2019t understand excess\u201d: \u201cHave you seen my costumes?\u201d Yes, yes we have. And if the screams in the audience every time another Bob Mackie getup takes the stage are any measure, the clothes are 90 percent of what we came for. They\u2019re like <\/span><span style=\"font-weight: 400;\">Kin<\/span><span style=\"font-weight: 400;\">g<\/span><span style=\"font-weight: 400;\"> Kong<\/span><span style=\"font-weight: 400;\">\u2019s big monkey. Is it wrong \u2014 or at best, useless \u2014 to critique a fashion show with musical numbers as if it\u2019s actually a play?&#8230;Is this three-body-diva thing like, a thing now? When are we getting the Madonna musical, complete with Blonde Ambition Madonna, Kabbalah Madonna, and Rebel Heart Madonna? But The Cher Show feels awkwardly stuck between blowout jukebox concert \u2014 a triple-your-pleasure cover act for one of the superstar\u2019s endless farewell tours \u2014 and schmaltzy bio-play. And there\u2019s way too much of the latter. &#0160;but the moments have a sappy, oddly insular effect, like watching someone else\u2019s life-coaching session. That\u2019s the thing about \u201cBehind the Music\u201d stories: It\u2019s not actually as fun as we think, and it\u2019s hardly ever revelatory, to have pop icons humanized. ..The funny thing is, I have no argument with the legend status of actual Cher. Her creative gambles, non-stop reinventions, and reigning queen status in a testosterone-soaked industry are incredible feats and speak of a human being with more than everyday ambition and endurance. ..It\u2019s the show\u2019s blithely formulaic nature that drags things down. Elice\u2019s book is a string of easy punchlines and hoky teaching moments &#8230;Jason Moore\u2019s direction is blandly splashy, the paint-by-numbers approach to this kind of material. The ensemble throws themselves gamely into Christopher Gattelli\u2019s choreography, though Gattelli\u2019s work only comes to life intermittently, &#8230;In the time I\u2019ve been writing this, I\u2019ve gotten more real enjoyment out of watching old Cher videos as research than I did in the theater. And I think I\u2019d probably get a kick out of seeing her in concert, where I have a feeling the ceaseless, high-gear pop-splosion, unburdened by autobiographical platitudes or pretensions toward plot and character, would somehow feel more honest. I\u2019m okay with the real thing, and even with nostalgia in YouTube-size bites \u2014 <\/span><a href=\"https:\/\/www.vulture.com\/2018\/08\/theater-pretty-woman-and-the-trouble-with-onstage-nostalgia.html\"><span style=\"font-weight: 400;\">but not as the only fuel in the tank when you\u2019re trying to do a play<\/span><\/a><span style=\"font-weight: 400;\">\u2026.you\u2019ve also got to try to make her into, well, theater. And that requires more than costumes, even costumes by Bob Mackie. It requires more than several good Cher impressions (Diamond, Wicks, and Block are all doing their best Janice-from-the-Electric-Mayhem voices, and Block especially sounds great belting out the brassy, vibrato-heavy hits). It requires more than wigs and wings and sailors and celebrities and tango-ing gypsies and hoedown-ing cowboys. The problem isn\u2019t that it\u2019s all too much. It\u2019s that, when all the glitter\u2019s swept up, it\u2019s not nearly enough.\u201d Sara Holdren <\/span><\/p>\n<p><a href=\"https:\/\/fordhamobserver.com\/37089\/arts-and-culture\/review-gilded-in-glitter-how-much-jukebox-inferno-can-the-cher-show-take\/\"><strong>The Fordham Observer<\/strong><\/a><\/p>\n<p><span style=\"font-weight: 400;\">Another good one.<\/span><\/p>\n<p style=\"padding-left: 40px;\"><span style=\"font-weight: 400;\">\u201cCher could never be contained in a Broadway musical. Let\u2019s start there. If the makers of \u201cThe Cher Show,\u201d among whom the real Cher is a producer, thought the pure divadom of its subject, dressed in all the gloriously gay, sequined and campy stylings of our favorite dark lady, could save the bio-musical from itself, they were holdin\u2019 out for love.<\/span><\/p>\n<p style=\"padding-left: 40px;\"><span style=\"font-weight: 400;\">[The show is]&#8230;disappointingly guarded and directionless attempt to squeeze Cher\u2019s many lives into a bordered, formulaic dramatization of her career. Frantic in its attempt to distill five decades of stardom into three hours, \u201cThe Cher Show\u201d careens from spotlight to spotlight, shag rug to shag rug, and speeds from striped bell bottoms to autotune, London to New York, Broadway to Hollywood, illegibly.<\/span><\/p>\n<p style=\"padding-left: 40px;\"><span style=\"font-weight: 400;\">By the way, had the musical followed its inclination to focus on Sonny and Cher, choosing that narrative rather than some biopic haze, the musical may have saved itself from the depths of jukebox hell. [The Fanny Brice]<\/span><\/p>\n<p style=\"padding-left: 40px;\"><span style=\"font-weight: 400;\">But I refuse to be a total cynic. We finally have a star-studded Broadway musical about Cher, and there are things to celebrate\u2026<\/span><\/p>\n<p style=\"padding-left: 40px;\"><span style=\"font-weight: 400;\">Stephanie J. Block, who is, as far as I\u2019m now concerned, a Broadway treasure we must protect at all costs. Not one bit buried by her throaty evocation, that characteristic voice which Block pulls off with as little caricature as possible, she is ever a match for the dominating personality of Cherilyn Sarkisian, portraying the diva (or star, as her character name suggests) with grace, reverence, and the best voice you can hear on Broadway right now. Only a drag queen could do it better. &#0160;<\/span><\/p>\n<p style=\"padding-left: 40px;\"><span style=\"font-weight: 400;\">&#8230;Micaela Diamond as Babe is an enthralling new actress, <\/span><\/p>\n<p style=\"padding-left: 40px;\"><span style=\"font-weight: 400;\">&#8230;Bob Mackie, albeit a fashion show set to music, which doesn\u2019t really equate to theater.<\/span><\/p>\n<p style=\"padding-left: 40px;\"><span style=\"font-weight: 400;\">&#8230;The Cher Show\u201d succeeds in inoculating its audience with a wistfulness for the sounds and fashions of this diva should be no gold star. Surely that\u2019s the bare minimum.<\/span><\/p>\n<p style=\"padding-left: 40px;\"><span style=\"font-weight: 400;\">But there\u2019s something to be said for the first seconds of \u201cI\u2019ve Got You Babe,\u201d Jarrod Spector\u2019s Sonny a remarkably uncanny evocation of the iconic voice that\u2019d be mostly hilarious if not braced by an incredible tenor. There\u2019s something to be said for that loving feeling, returned to an audience however caked in glitter. Maybe it\u2019s shmaltz and maybe I\u2019m a fool, and it\u2019s certainly not enough to make \u201cThe Cher Show\u201d good theater. But it\u2019s fine enough as the first chords of an iconic song ring in, a small comfort to be momentarily in the presence of what makes Cher great: her music, not some hopelessly humanizing Broadway creation.\u201d Michael Appler<\/span><\/p>\n<p><span style=\"font-weight: 400;\">You can read more reviews here:&#0160;<br \/><\/span><a href=\"http:\/\/www.playbill.com\/article\/read-reviews-for-the-cher-show-on-broadway\"><span style=\"font-weight: 400;\">http:\/\/www.playbill.com\/article\/read-reviews-for-the-cher-show-on-broadway<\/span><\/a><\/p>\n<h4><strong>The Cast<\/strong><\/h4>\n<p><span style=\"font-weight: 400;\">There have also been stories about the cast, who everyone claims is the right stuff:<\/span><\/p>\n<p><span style=\"font-weight: 400;\">About the Three Chers:&#0160;<\/span><a href=\"https:\/\/www.nytimes.com\/2018\/11\/14\/theater\/the-cher-show-broadway-stephanie-j-block.html\"><span style=\"font-weight: 400;\">https:\/\/www.nytimes.com\/2018\/11\/14\/theater\/the-cher-show-broadway-stephanie-j-block.html<\/span><\/a><span style=\"font-weight: 400;\"> &#0160;<\/span><\/p>\n<p><span style=\"font-weight: 400;\">Below is an article about the actress playing young Cher and the actor playing Sonny, both from Philadelphia. Jarrod Spector is called the King of the Jukebox Musical, as he played Barry Mann in Beautiful and Frankie Valli in Jersey Boys. This show was Micaela Dimond\u2019s first part and she wasn\u2019t even born until a year after Believe was a hit!<\/span><\/p>\n<p><a href=\"http:\/\/www.philly.com\/arts\/cher-show-broadway-micaela-diamond-margate-germantown-academy-jarrod-spector-20190103.html\"><span style=\"font-weight: 400;\">http:\/\/www.philly.com\/arts\/cher-show-broadway-micaela-diamond-margate-germantown-academy-jarrod-spector-20190103.html<\/span><\/a><\/p>\n<p><span style=\"font-weight: 400;\">Their review: \u201cThe show is a lot of loud, bright, over-the-top craziness, with tree-top performances.\u201d<\/span><\/p>\n<p><span style=\"font-weight: 400;\">That&#39;s a lot to process. More to come&#8230;<\/span><\/p>\n","protected":false},"excerpt":{"rendered":"<p>A compilation of reviews and news for The Cher Show on Broadway.<\/p>\n","protected":false},"author":2,"featured_media":0,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"nf_dc_page":"","om_disable_all_campaigns":false,"_jetpack_memberships_contains_paid_content":false,"footnotes":"","jetpack_publicize_message":"","jetpack_publicize_feature_enabled":true,"jetpack_social_post_already_shared":false,"jetpack_social_options":{"image_generator_settings":{"template":"highway","default_image_id":0,"font":"","enabled":false},"version":2}},"categories":[18],"tags":[200,4],"class_list":["post-812","post","type-post","status-publish","format-standard","hentry","category-scholarship-in-action","tag-broadway","tag-cher","wp-image-borders","post-preview"],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v27.4 - 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