Tale Of Two Cities Reviews: Critics Clips
French Revolution Musical
BREAKING NEWS: A Tale Of Two Cities Opened tonight, so we’ve included a running sample of the reviews. While the show didn’t please all critics, most found praise for James Barbour as Sydney Carton, and the entire cast. Numerous critics made nearly identical comments concerning this musicals similarity to Les Miserables . Of course, nearly all critics also took an opportunity to twist a line of Charles Dickens for their review (no pun intended)…except Ben Brantley of the New York Times, who displayed a Sydney Carton-worthy ennui to the idea (i.e. that’s not what the cool drama critics do). Samples of the reviews below. Watch select footage of the opening night celebrations right here on www.Broadway.tv:
• “A Tale of Two Cities,” which opened last night at New York’s Al Hirschfeld Theater, sets the Broadway musical back, not quite to 1793 and the Reign of Terror, but far enough. -John Simon, Bloomberg
• Actually, this Carton - a sensational James Barbour - didn’t put a foot wrong all evening. It was where he had to put his foot that things fell apart. -Clive Barnes, New York Post
• If you loved “Les Misérables,” you’ll like “A Tale of Two Cities.” The book is earnest, the décor elaborate, the cast hard-working.-Terry Teachout, Wall Street Journal
• To say it could have been worse - i.e., gloriously, hilariously bad - is not a cause for rejoicing. -Ben Brantley, New York Times
• The plus side: A ton of talent on stage and Charles Dickens’ celebrated story of love amid encroaching ruins. The minus: A belabored mix of leaden lyrics and music. -Howard Shapiro, Philadelphia Inquirer
• Fortunately, Barbour delivers a bravura star-making turn, infusing his Carton with a sleepy, sardonic charm that clearly will win over audiences.- Frank Scheck, Hollywood Reporter
• “A Tale of Two Cities” is hardly the best of pop operas or the worst of pop operas. It moves fast and reaches for an admirable stage poetry in its final moments. -Eric Grode, New York Sun
• Rarely have so many glorious voices been brought together for something so commonplace. Barbour has a bass-baritone he can drop to resonant depths and then modulate into airy diminuendos. At a time when so many leading men sing stunningly, Lazar may have the single best set of pipes on Broadway. -David Finkle, Theatermania
• Designed to be a crowd pleaser, there’s no denying “A Tale of Two Cities” succeeds to a degree. While it’s not “the best of times” in a theater, it is certainly not “the worst of times.” But “Les Miz” has already been there, done that and done that much better. -Roma Torre, New York 1
• The musical itself, which Jill Santioriello developed over the course of two decades, is no more than a dull, dusty rip-off of “Les Miz.” Even the show’s lead producers are acting alumni of “Les Miz.” -Matt Windman, amNew York
• Broadway newcomer Jill Santoriello, who wrote Tale’s book, music and lyrics, is clearly passionate about the material. And it’s impossible not to be moved by the story of gentle, generous Lucie Manette, whose father is wrongly imprisoned before the French Revolution, and Sydney Carton, the dissolute banister whose unrequited love for Lucie inspires the ultimate sacrifice. -Elyssa Gardner, USA Today
• Broadway newcomer Jill Santoriello has provided not only the music but the book and lyrics for “A Tale of Two Cities.” It’s a heroic job of multitasking but her efforts stretch the show mighty thin - particularly in the music department, where faint echoes of “Les Miz” (by way of “American Idol”) reverberate every now and then… ” -AP
• Newcomers to Dickens’ classroom classic are likely to be more intrigued by the tale than others who know how it all works out. Still, everybody may have occasional trouble following the sprawling story’s flashbacks and unexpectedly linked characters. -Michael Sommers, Star-Ledger
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