‘Rocky’ lacks punch, doesn’t always fly

‘ROCKY’ ROMANCE: Margo Seibert & Andy Karl in ‘Rocky.’ Photo: Matthew Murphy

ROCKY
Book by Thomas Meehan & Sylvester Stallone
Music by Stephen Flaherty
Lyrics by Lynn Ahrens
Directed by Alex Timbers
Choreographed by Steven Hoggett & Kelly Devine
Winter Garden Theatre
1634 Broadway at 50th Street
(212-239-6200), rockybroadway.com

By David NouNou

Rocky Balboa is a stalwart survivor. Anyone who has seen the iconic 1976 movie knows this to be a fact. Upon its release, it was another underdog boxing movie, but miraculously it found an enormous audience and, against all odds, it won the Oscar as Best Picture. There is no denying the movie has withstood the test of time. However, as a Broadway musical adaptation, it is the audience that has to be able to withstand an interminable first act and one of the most lackluster scores of all time. I saw it just two hours ago and I’m having trouble remembering Act I or any of the “original” score. In all fairness, I do hear Bill Conti’s Rocky theme “Gonna Fly Now” and Survivor’s “Eye of the Tiger”. How much better for the show if Flaherty’s music and Ahrens’ lyrics would have been totally scrapped, and we were left with just the two Rocky themes?

The original screenplay by Sylvester Stallone is used as a blueprint and the entire movie is transposed to fit the musical parameter. The screenplay had originality; alas, this book lacks any.The movie had a beating heart and Conti’s music throbbed throughout, which gave it its soul. Instead what there is now is a flat-lined musical by-the-numbers. All the scenes are here: the egg drinking, the meat punching, the climbing of the Philadelphia steps and ultimately the fight. Everything is familiar, but somehow it seems it is seen through a filter as in a dream.

Andy Karl gives a fine performance and makes a serviceable Rocky. He has paid his dues on Broadway in supporting roles, most notably in The Mystery of Edwin Drood but lacks the charisma to carry a whole show. In the part of Rocky as written, unfortunately for Mr. Karl he is given a template to do a Stallone than to be able to put his own stamp on it. Margo Seibert, as the mousy Adrian, is in good voice but lacks total stage presence to make her part bloom.

Act II finally gets things moving. Thanks in large part to multimedia, “Rocky’s Theme” and “Eye of the Tiger” the show manages to find a pulse. Through the use of multiple Rockys, training to the juxtaposed black and white pictures through the streets of Philadelphia and minimal use of “original” score, all this leads to the raison d’être; “the Fight”, to last for 15 rounds in the ring with Apollo Creed (Terence Archie). This scene is something to behold, thanks in large part to set designer Christopher Barreco and choreographers Steven Hoggett and Kelly Devine, for the entire fight scene is in actuality a choreographed number replete with punches, gashes, blood and glory.

In the end most people won’t remember much about the show, but everyone will remember the final scene. It has an inherent theatricality that outlives anything that preceded it.

BOXING ON BROADWAY: Terence Archie & Andy Karl in ‘Rocky.’ Photo: Matthew Murphy

Nominated for 4 Tony nominations including: Best Musical Actor – Andy Karl, Best Choreography, Best Scenic Design – Christopher Barreca and Lighting Design

Edited by Scott Harrah
Published March 20, 2014
Reviewed at press performance on March 19, 2014