Hunter Foster, Megan Reinking and more in BROADWAY HOLIDAYS IN THE GRISWOLDS
The Griswolds Broadway Holiday celebrated opening night at the 5th Avenue Theater in Seattle on September 22, 2022 and is now on stage until October 2, 2022. The production stars Hunter Foster as Clark Griswold and Megan Reinking as Ellen Griswold.
The Griswolds’ Broadway Vacation features book, music and lyrics by David Rossmer and Steve Rosen (The Other Josh Cohen), and is directed and choreographed by Donna Feore (Seattle Rep’s Bruce, Stratford Festival’s Chicago). The Griswolds’ Broadway Vacation is produced in association with Ken Davenport, Sandi Moran, TBD Theatricals, Jonathan and Rae Corr, Adam Riemer and Scott Abrams.
They went to Wally World, they went to Vegas, and now the Griswolds are going to…Broadway! Yes, the characters you know and love from blockbuster Warner Bros. movies. Vacation are back and they’re taking their biggest vacation yet. So hop in your family trucker and join Clark, Ellen, Audrey, and Rusty on their big New York adventure, where of course, everything goes exactly as planned.
Tickets are on sale now and can be purchased over the phone at 206-625-1900, online at www.5thavenue.org or in person at the box office at 1308 5th Avenue in downtown Seattle.
Let’s see what the critics have to say!
Jerald Pierce, Seattle Times: Part of me wonders how this show would play out in one act, preserving its first-act momentum. It’s a two-hour show with a 15-minute intermission, and a one-hour, 45-minute show without an intermission isn’t unreasonable. But that pause, coupled with a slow start to Act 2 that allows Ellen, the show’s emotional core, to be put on the back burner, makes it feel like it’s costing “Broadway Vacation” its cathartic climax. The music is there, with several songs still swirling around in my head. The staging and choreography are there. Honestly, I’ve never laughed so hard at any of the properties from the previous “Vacation” series. And surprisingly, the end of the show threatened to make me cry too. I can’t help but wonder what it would be like if it had succeeded.
Doug Bursch, The Moderate Voice: The creative team has crafted a gripping comedy that really takes off in the second act. Instead of getting boring or boring, David Rossmer and Steve Rosen (book, music and lyrics) create a show that takes time to lay the groundwork for comedic and heartfelt relationship gains. They’re also leaving some of their best songs for the last hour, including making a brief but ridiculous humorous tribute to Lin-Manuel Miranda’s Hamilton musical styles. My favorite song was the father/daughter duet “You Can Tell Me Anything (But You Don’t Have to Tell Me Everything)”. It’s the perfect blend of beautiful music, beautiful vocals, and a really strong story through song.
Matt Baume, The Stranger: When the show got really absurd, I leaned forward in my seat. When Clark and Ellen pondered the nature of marriage, complete with hetero-disruptive dialogue that could have been transplanted from any episode of King of Queens or Modern Family, I had time to sit down and to let my gaze wander over the design of the production. (That’s fine.) But maybe it’s not a show that wants me to lean forward. I feel like it’s more for the people it’s all about: suburban straight guys who’ve been to Manhattan for a spotless time like it’s Branson, Missouri. The producers intend to bring the show to Broadway in 2023, and without giving too much away, I can’t imagine any audience other than an all-tourist audience enjoying the final score, which is, essentially, “Fuck New York, let’s go back to Skokie.”
Jay Irwin, BroadwayWorld: The Show by David Rossmer and Steve Rosen has several upsides and some huge downsides. Good news first. It’s more fun than a trip to Wally World. The book is downright funny with its many references to New York and its people, and the ridiculous antics of the Griswolds. Most notably, the multitude of character forgeries in Times Square, the number of which was one of the few good ones in the series, and Rusty’s recurring gag constantly turning potential disaster into success due to not being what a nice boy. And I have to mention set designer Jason Sherwood’s hysterical fake Times Square signs. I’m sorry, but what was the name of this massage parlour? (The Chef’s Kiss.) All of that, plus so many other great gags and killer choreography from director and choreographer Donna Feore makes this show a lot of fun.
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