Robin and the 7 Hoods Press Highlights
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ROBIN AND THE 7 HOODS PRESS HIGHLIGHTS REVIEWS LOS ANGELES TIMES August 2, 2010 Tender trap `Robin and the 7 Hoods' succeeds on its classic songs, but cramming a plot around them almost sends it up the river. CHARLES MCNULTY THEATER CRITIC REPORTING FROM SAN DIEGO >>> Some- thing slightly felonious is happening with the goldmine of tunes by Sammy Cahn and Jimmy Van Heusen, the songwriting team that helped revitalize Frank Sinatra's hip fac- tor in the 1960s. The new musical "Robin and the 7 Hoods" has ransacked one of the great catalogs from the ring-a-ding era for a show that can't figure out if it wants to be an hon- est-to-goodness book musical or a jukebox jamboree. Right no-AT the offering is a cross between a "Guys and Dolls" rip-off and a "Mamma Mia!"-style smorgasbord of hits. Yet the songs are so criminally entertaining— such a step up in originality and surprise from anything written for today's cheesy Broad , ay — that Friday's opening-night audience at the Old Globe didn't seem to mind the shoddy con- struction of this Robin Hood revamp. To make an insanely complicated story short: Chicago mobsters wage war over night- club turf. A crusading TV anchorwoman named Marian (Kelly Sullivan) falls hard for Robbo (Eric Schneider), one of the embattled club owners, who's ripe for romantic re- demption. The names derive from the old English legend, but the stealing from the rich to give to the poor business is mostly a con that would require a flow chart to explain. (Trust me: You really don't want to know) [See `Rabin,' D41 Page 2 Story drags down songs ['Robin,' from Dl] has transported the action Fortunately, the efferves- to the now ubiquitous "Mad cent bliss of "Call Me Irre- Men" era, but the slim cut sponsible," "High Hopes," suits (the dashing contribu- " ( Love Is) The Tender Trap" tion of costume designer and "Come Fly With Me" Gregg Barnes) look great on goes a long way toward ex- Robbo and his gangster cusing a plot that's mainly friends and foes. The titular an excuse to squeeze in as "hoods" are mostly undiffer- many Cahn-Van Heusen dit- entiated types (the seven ties as possible. Music su- dwarfs would seem to have pervisor John McDaniel Chekhovian contours by brings a deft touch to the vo- comparison), but they cal arrangements, Bill Elli- handsomely fill the show's ott's orchestrations couldn't superficial bill. be smoother, and the or- Schneider is no Sinatra, chestra, led by music direc- but he has a driving voice tor Mark Hummel, soars and a sneaky urban appeal. with the swagger of a golden Sullivan's commanding age that sees no reason to singing compensates for her concede that the jig is up. CRAIG SCHWARTZ The Ulu -:-e sometimes underwhelming The overture alone casts a DAME: Amy Spangor performs "Same Old Song and acting. The chemistry be- heady spell. Dance" as Alana O'Dell in "Robin and the 7 Hoods." tween the two is lukewarm, There's no competing but they deliver sufficient with the star power of the — the biggest being the at- tap-dancing and general heat in their joint numbers. 1964 Rat Pack film with Sina- tempt to thread disparate swing. At times, it appears Of the supporting cast, tra, Dean Martin and Sam- songs into a consistent nar- that Niclholaw wouldn't Amy Spanger is the musical my Davis Jr. (The title and rative. Why bog the celebra- mind junking the whole con- standout as the woman in- some of the character names tion down with a cumber- voluted tale and moving in a tent on marrying Robbo's are the same, but the story some yarn when an artful re- direction similar to "Come best buddy, Little John ( Will has been overhauled and vue would more or less do Fly Away," the Twyla Tharp Chase). Rick Holmes makes several Sinatra standards the trick? ode to Sinatra on Broadway. only a wan impression as P.J. have been shoehorned in The problem can't be laid Interestingly, when the ca- Sullivan, Robbo's suppos- along with additional entirely at the feet of book per's contrivances are at edly fearsome rival. But Ad- songs.) The Old Globe's writer Rupert Holmes their most strained, even the am Heller, who plays cor- amiable ensemble is more ("Curtains"), who has done choreography gets clichéd, rupt Lt. Nottingham, steals confident in handling the his best to come up with a with go-go arm jive suggest- the spotlight from everyone musical numbers than the structure that can contain ing an impromptu limbo at a during his "High Hopes" rev- confused period patter (up- all of the loosely fitting parts. Vegas disco. erie with Robbo. dated from the Prohibition Yes, the majority of laugh The opening number, As an entertainment, days to the early '60s). But lines are groaners and the "My Kind of Town ( Chicago "Robin and the 7 Hoods" the performers shouldn't plot points are designed Is)," sets the peppy tone if succeeds only if you agTee to have to take the rap for the around the songs rather not the place. Scenic de- accept it on its own hare- new work's shortfall. than the other way around. signer Robert Brill doesn't brained terms. The film had Even if Harry Connick Jr. But the job is an impossible bother much about the the advantage of 01' Blue (rumored to be at the top of one, demonstrating yet Windy City — the location is Eyes, Dino and Sammy to the producers' wish list) again that musical theater first and foremost a stage, get viewers over the hump of were to anchor a Broadway can't be ordered up in the another hint that the pro- the screenplay. Here, Cahn run, a new generation de- same top-down, marketing- duction would rather be a and Van Heusen's music is serves the opportunity of en- focused way that Detroit spectacular than a musical the secret weapon. That's countering Cahn and Van manufactures cars. saga. But the upside is that some pretty powerful artil- Heusen's streetwise genius The production, directed lighting designer Kenneth lery, but the fight shouldn't in a sleeker vehicle. The and choreographed by Posner has room to enhance have to be so onerous. paint job on this one is cer- Casey Nicholaw ("The the visuals with colorful ef- tainly snazzy, but the engi- Drowsy Chaperone"), fects. charles.mcnulty neering reveals major flaws rouses the crowd with its It's not clear why Holmes @latirnes.com Page 3 THEATER REVIEW ^ ^ - . _ _ ^ ^ ^ }' ^ • l '^ L{I ^ ~ I 4 4- . ~ ^` ^ ^ , ,`^ nn.^n , ^ . ^ ^ : ^^. , - , w CRAIG SCHWARTZ The Old Globe RABBO- Eric Schneider stars in the new musical of tunes by Sammy Cahn and Jimrny Van Heusen. Culture Monster All the Arts, All the Time Theater review: 'Robin and the 7 Hoods' at the Old Globe August 1, 2010 | 5:32 pm San Diego -- Something slightly felonious is happening with the goldmine of tunes by Sammy Cahn and Jimmy Van Heusen, the songwriting team that helped revitalize Frank Sinatra’s hip factor in the 1960s. The new musical “Robin and the 7 Hoods” has ransacked one of the great catalogs from the ring-a-ding era for a show that can’t figure out if it wants to be an honest-to- goodness book musical or a jukebox jamboree. Right now the offering is a cross between a “Guys and Dolls” rip-off and a “Mamma Mia!”-style smorgasbord of hits. Yet the songs are so criminally entertaining—such a step up in originality and surprise from anything written for today’s cheesy Broadway—that Friday’s opening night audience at the Old Globe didn’t seem to mind the shoddy construction of this Robin Hood revamp. To make an insanely complicated story short: Chicago mobsters wage war over nightclub turf. A crusading TV anchorwoman named Marian (Kelly Sullivan) falls hard for Robbo (Eric Schneider), one of the embattled club owners, who’s ripe for romantic redemption. The names derive from the old English legend, but the stealing from the rich to give to the poor business is mostly a con that would require a flow chart to explain. (Trust me: You really don’t want to know.) Fortunately, the effervescent bliss of “Call Me Irresponsible, “High Hopes,” and “Come Fly with Me” goes a long way toward excusing a plot that’s mainly an excuse to squeeze in as many Cahn-Van Heusen ditties as possible. Music supervisor John McDaniel brings a deft touch to the vocal arrangements, Bill Elliott’s orchestrations couldn’t be smoother, and the orchestra, led by music director Mark Hummel, soars with the swagger of a Golden Age that sees no reason to concede that the jig is up. The overture alone casts a heady spell. There’s obviously no competing with the star power of the 1964 Rat Pack film with Sinatra, Dean Martin and Sammy Davis Jr. (The title and some of the character names are the same, but the story has been overhauled and several Sinatra standards have been shoehorned in along with additional songs.) The Old Globe’s amiable ensemble is more confident in handling the musical numbers than the confused period patter (updated from the Prohibition days to the early ’60s). But the performers shouldn’t have to take the rap for the new work’s shortfall. Even if Harry Connick Jr. (rumored to be at the top of the producers’ wish list) were to anchor a future Broadway run, a new generation deserves the opportunity of encountering Cahn and Van Heusen’s streetwise genius in a sleeker vehicle.