Jesse tuck everlasting musical Continue CarnivalHugo and Constable Joe (front row, L to R): Erin Barney, Kenzie Nalle, Autumn Ragonese, Michael Bernardi, Alicia Parks, Renee McGlene, Charles French (Back Row, L to R): Chris Georgiadias, Spencer Congel, Megan Chase, Savannah Hefner, Autumn Corkle, Carson Duffy, Alexis Bombard, Lauren Graham (Stage Manager) (Missing: Richard Curran, Mia LaMontague, Ruggeria, Emily Soulier) : Photos Courtesy of Mark Photography (Front Row , L to R): Cian Jackson, Jaden Orloff, Keith Peck, Giovanni Heater, Brigg Liberman, Lily Dwyer, Kayla Guida, Bianca Stevenson, Hailey Higgins (Second Row, L to R): Jacob Garofalo, Lily Thorne, Leniece Cooper, Brianna Ballard, Derrick Clark, Alex Aldrich, Olive Crawford, Lorelei Bodenbach, Mikeys Moussaw, Brady Marchak, Claire Francazal (Back Row, L to R Joshua: Merchant, Benji Hoffman, Cory Lane, Thomas , Tyler Gibbens Photos : Courtesy of Mark V PhotographyFull CastJesse and WinnieJesse and WinnieLogoAngus and MaeMiles and ThomasMiles and JesseNana, Winnie and BetsyPitSeniorsStoryteltersThe Tuck FamilyWinnie and Toad Andrew-Bolger and Sarah Charles Lewis in Greg Mooney's Tuck Everlasting Everlasting, the new Broadway musical about a magical spring that grants immortality, has proven to be too mortal. He plays his final performance 29.The show will have run 28 previews and 39 regular performances at the Broadhurst Theatre. The show began previews March 31 and opened April 26. Reviews were mixed. Tuck won only a single Tony Award nomination, for best costume design. For the week ending 22 May, Sold only $325,361.28 worth of tickets out of a potential $1,112,446.Tuck Everlasting features a book by Tony Award nominee Claudia Shear (Dirty Blonde) and Tim Federle (Better Nate Than Ever, The Great American Everything), based on Natalie Babitt's best-selling 1975 novel of the same name. The music is by Chris Miller (The Burnt Part Boys), the lyrics are by Nathan Tysen (The Burnt Part Boys) and direction and choreography are by Tony Award winner Casey Nicholaw (Something Rotten!, Aladdin, The Book of Mormon). The production stars three-time Tony Award nominee Carolee Carmello as Mae Tuck (Finding Neverland), Outer Critics Circle nominee Andrew Keenan-Bolger as Jesse Tuck (Newsies), two-time Emmy Award winner Michael Park as Angus Tuck (How to Succeed...), three-time Tony nominee Terence Mann as the man in the yellow suit (Pippin), Fred Applegate as Constable Joe (The Last Ship), Robert Lenzi as Miles Tuck (South Pacific) , Michael Wartella as Hugo (Wicked), Valerie Wright as Mother (Elf The Musical) and Pippa Pearthree as Nana (Noises Off). Eleven-year-old, Atlanta-based actress Sarah Charles Lewis plays her central role Foster, the young girl who becomes friends with a unique family who has earned eternal life drinking from a fountain flowing from a tree in the forest. Production output graphic design by Walt Spangler (A Christmas Story musical, Wish Under The Poplars), costume design by Tony Award winner Gregg Barnes (something rotten!, Aladdin, kinky boots), lighting design by Tony Award winner Kenneth Posner (finding Neverland, Kinky Boots, Wicked), sound design by Tony Award winner Brian Ronan (beautiful the Carole King Musical, The Book of Mormon), orchestrations by John Clancy (Fun Home, Shrek) and musical supervision by Rob Berman (The Pajama Game, eight seasons as musical director of Encores!). Casting is from Telsey + Company (Bethany Berg Knox, CSA). Tuck Everlasting was produced by Grove Entertainment, Arlene Scanlan & Michael Jackowitz, Howard & Janet Kagan, Jeffrey A. Sine, Broadway Ave in America, Samira Nanda, Matthew Blank, Laurie Glodowski/Susan Daniels, Joan Jhett Productions/Gabrielle Hanna & Marcy Feller, Patti Maurer/Bev Tannenbaum/Sunshine Productions/Karen Humphries Sallick, Rich Entertainment Group/Jeremiah J. Harris/Darren P. DeVernay/AC Orange International LLC, Warner/Chappell Music/Linda G. Scott, Late Life Love Productions/Alexis Fund, Fakston Productions/Kyle Fisher, Jack Thomas/Caduceus Productions and Barry Brown.Visit TuckEverlastingMusical.com. Get full access to guides, character analysis, auditions, monologues and more! UPGRADE TO PRO SIGN UP or login to your account this feature is only available for pro audition members for Jesse Tuck? Upgrade to PRO Sign up for PRO to see recommended audition tracks! Are you already a member? Log in on Friday, February 21 @ 7:00 pm Tickets on sale January 17! Saturday, February 22 @ 7:00 pm Tickets on sale January 17! Sunday, February 23 @ 2:00pm Tickets on sale January 17th! Friday, February 28 @ 7:00 pm Tickets on sale January 17! Saturday, February 29 @ 2:00pm Tickets on sale January 17th! Saturday, February 29 @ 7:00 pm Tickets on sale January 17! Sunday, March 1 @ 2:00 pm Tickets on sale January 17! From Tac Eternal to Broadhurst. The age of the protagonist of a show often provides an indication of the age the show's audience is pitched to: Patrick in American Psycho is 27; Patrick in American Psycho is 27; Patrick in American Psycho is 27; Patrick in American Psycho is 27; Patrick in American Psycho is 27; Patrick in American Psycho is 27; Patrick in American Psycho is 27; Patrick in American Psycho is 27; Patrick in American Psycho is 27; Patrick in American Jenna in waitress is in her thirties; The character Frank Langella plays in Father is 80 goes dead. So perhaps we should be grateful that Winnie, the heroine of the 1975 young adult fantasy novel Tuck Everlasting, has gone up from 10 to 11 for the musical adaptation that just opened on Broadway: It's that much more bearable. But whether the work of so many talented people in making the adjustment has added anything of value beyond this one year is another matter; That's it, to the end, a ruthlessly from the book treating a high-concept, low-power fairy tale. Those nostalgic for seventh-grade enthusiasms may love it. I found it was a musical about the kid to someone else. First, that novel, by Natalie Babbitt, is a poor cousin to her magical novels by Edward Ainer, E. Nesbitt and Roald Dahl. Instead of dusting off his story with a lively spirit, Babbitt almost drowns in sticky, honey prose. That's a shame, because the story itself, set in the late 1800s, is pretty promising: Winnie, in the lam from her stultizing home, discovers a family, the Tucks, who many decades earlier drank from a hidden forest spring that gave them eternal life. This blessing proved, in part, a curse, which relieves them of the natural cycle of decay but also of the reward of joy. As a result, the permanent forty parents, Mae and Angus, are stuck in a loving but endless marital quagmire; Not only does he snore, he snores forever. Eldest son Miles, stuck at 21, married a civilian, not knowing he would live to see his wife and child die. And youngest son Jesse, 17, is desperate to find romantic companionship. Enter Winnie at 10 — er, 11. Babbitt resorts to many strange plots to bring this Möbius strip of a story to some kind of climax and resolution; there is a creepy character - the man in the yellow suit - who hopes to take advantage of the Tucks' secret, as well as a murder and a belabored jailbreak. The book of musicals, by Claudia Shear and Tim Federle, unkinks some of these nodes and adds plenty of stageable business apart. The man in the yellow suit, for example, is now a carny instead of a lone wolf, so Winnie and Jesse can have a night of fun and the show can have a (wan) Act One production number. But the more Shear and Federle clarify the material the more common and threadbare it seems, a problem that Casey Nicholaw's attitude (he is both a director and choreographer) exacerbates mostly in the persistent adherence to conventions of Broadway storytelling. Is there an opening number that inserts all the main characters as well as the theme? Check: Live like this. Is there a second number that defines the heroine's dream and dilemma? Check: Good girl Winnie Foster. Is there a third number that expands the focus and brings in the competitor? Check: Join the parade. And although every song, from the new group of Chris Miller and Nathan Tysen, does its job exactly to specifications - and with nary an off-rhyme all night - there is something more conscientious than passionate about Tuck Everlasting. The homogenization feels deliberate, as if pieces of Wicked, Brigadoon, and Carousel had been discarded in a blender with skimmed milk to produce a smoothie that is too thin. A better recipe could have started with the study of musicalization (and not only success) by Matilda Dahl to see how a family musical can target higher than its demographic. Matilda is scary and emotionally complex, filled with physical threat and mental hunger. The amazing special effects of prime audiences, young people old, for both. Tuck Eternal, overly pretentious of the sensibilities of young people, dares only approach such ideas in quotes. The concept of mortality is rubbed so strongly by sad associations that it ends up smelling like a fresh washing machine. Apart from a few flash lights, the only special effect is ... A frog. Even the murder is distorted. the victim is not deliberately shot as in the book, but accidentally dies when whacked by a rifle. From then on, this is one of the most sexual musicals ever set on Broadway. It'll work forever in high schools. True, you won't have professional artists: not Carolee Carmello as Mae or Terence Mann as the man in the yellow coat or Andrew Keenan-Bolger as Jesse, working his sea urchin charm on everything he deserves. You won't have a pair of hams like Fred Applegate and Matthew Wartella, as Constable Joe and his shy assistant, to pull off the comic-relief duo You Can't Trust a Man.