Movie or musical? (Part 2)

From elephants to Ponyboys.

The cast of The Outsiders. Photo by Matthew Murphy.

We did it—we made it through the 2023-2024 Broadway season. I saw a staggering number of shows over the last several weeks, and while I have arrived on the other side, I’m reminded of the tagline on the Texas Chain Saw Massacre poster: “Who will survive and what will be left of them?” What I’m saying is that I have been changed, and maybe not for good.

I’ve been so busy, in fact, that I haven’t been able to share my thoughts on most of what I saw. And it’s important for me to do that in a semi-formal way, because right now when someone asks me what I’ve enjoyed this season, I draw a complete blank. Not because I didn’t like anything, but because it’s all a bit of a blur until I untangle it. (Were several of the shows this season especially forgettable? Yes, but that’s only part of the problem.)

So I’m returning to the “movie or musical?” question with three more shows, all of which are kind of based on books but at least a little based on movies. In Part 1 (which you can read here), I covered Back to the Future, Teeth, and Tommy. Now, I’m moving on to three spring shows, including two nominated for Best Musical. And one of them is what I think is probably the frontrunner, based almost entirely on vibes, personal taste, and my desire to bring Angelina Jolie closer to EGOT status.

Note: I am always in favor of seeing live theater. I also love movies, but they are no substitute for the theatrical experience—whether they’re a pro-shot, an adaptation of a stage musical, or the inspiration for a play. This “movie or musical?” exercise is simply a way of trying to organize my thoughts about the abundance of theater options, and should only be taken as seriously as you feel like taking it. (This is the same note I included last time, and I still mean it!)

The Notebook

Joy Woods as Allie and Ryan Vasquez as Noah in The Notebook. Photo by Julieta Cervantes.

Here is where I confess that I have never liked the film The Notebook, which is typical Nicholas Sparks treacle ever-so-slightly elevated by the undeniable chemistry between Ryan Gosling and Rachel McAdams. Before going to see the musical adaptation, I decided to revisit the movie, wondering if two decades of life might have shifted my perspective. No, it’s still maudlin nonsense with a hacky voiceover and a deeply offensive portrayal of dementia. (The MTV Movie Award for Best Kiss, however, was well deserved.)

Regretfully, I have to say that the musical takes everything I’ve always disliked about The Notebook and makes it worse. The biggest problem is that in an apparent attempt to make the story more palatable to the widest audience possible, Bekah Brunstetter’s book softens everything to a ludicrous extent. Noah doesn’t pressure Allie into going out with him, and they don’t have a dramatic break-up where she physically attacks him. Allie’s mom goes from stone cold to a little unkind. And while the show claims that it depicts a real interracial relationship in the ‘60s and ‘70s, there is not a single mention or acknowledgment of race.

The rough edges of The Notebook are sanded down into nothingness, resulting in something instantly forgettable and frankly a slog. Sadly, the score doesn’t do much to help with that. Despite being a talented singer-songwriter, Ingrid Michaelson has written something that—much like the musical’s book—could best be described as inoffensive. There’s nothing particularly wrong with the songs, but there’s nothing right about them either. However well performed they are, not a single one stands out.

Movie or musical: I already admitted that I’m a Notebook hater in any form, but I understand why people like the movie. You’re much better off watching the film, which offers more meaningful conflict and the thrill of seeing two movie stars falling in love on camera.

Water for Elephants

Isabella McCalla as Marlena and Grant Gustin as Jacob in Water for Elephants. Photo by Matthew Murphy.

I remember reading and loving Water for Elephants in 2006, but I somehow missed the movie. Turns out it’s pretty awful! For those who haven’t experienced either: Water for Elephants tells the story of Jacob Jankowski, a veterinary student who quits school and runs away with the circus after his parents are killed. Like you do. He ends up having a clandestine affair with professional horse girl Marlena, who is married to abusive ringmaster August. There’s also an elephant named Rosie.

What seemed very romantic and compelling to me at 20 now feels a bit silly, but Water for Elephants onstage makes a little more sense than Water for Elephants onscreen. The film wants to keep things grounded, which is not an easy fit, especially when it arrives at the deus ex elephant ending. The musical leans into the theatricality, giving us the ol’ razzle dazzle in the form of acrobats and aerial artists. Any time the show drags, someone does a series of impressive flips.

Of course, those flips can’t entirely distract from Water for Elephants’ many shortcomings. To name two big ones: the score is just as flimsy as The Notebook’s, and the elephant puppet feels quite lacking in a post-Lion King world. (I would kill to see Julie Taymor’s Water for Elephants, if anyone wants to make that happen.) When the musical focuses on the circus itself, it’s passably entertaining, but once it slows down for the big Act II love duet, you long for the sweet release of a stampede.

Movie or musical: Both the movie and the musical have that thing where no one even seems to be trying to make it feel like the 1930s. That’s just more forgivable onstage, as is the conceit of an elephant (spoiler alert) doing a murder. And while I can’t quite recommend Water for Elephants the musical, it’s at least a better way to spend your time than with a severely miscast Robert Pattinson and Reese Witherspoon.

The Outsiders

The cast of The Outsiders. Photo by Matthew Murphy.

I decided to save the best for last, while recognizing that many of you already stopped reading thanks to my rampant negativity. I promise I do actually enjoy things, and The Outsiders—a show I have been evangelizing to anyone who will listen over the last month—is one of those things! Despite not having grown up with The Outsiders (book or movie), I was completely won over by the musical adaptation, which pulls from S. E. Hinton’s novel and Francis Ford Coppola’s film to create something really special.

When I found out the musical was at least in part inspired by the movie, I was worried it might try too hard to be “cinematic.” And yes, there are filmed moments, but it never feels excessive like Ivo van Hove’s Network or West Side Story. (If you want to make a movie so bad, make a movie!) Part of what I appreciated about this iteration of The Outsiders is that it is distinctly theatrical. The climactic rumble is something that could only exist onstage, and also happens to feature the most stunning fight choreography I’ve ever seen.

At a very basic level, The Outsiders showcases talented performers singing some beautiful songs, and sometimes that’s all I need! While that sounds like a low bar, it’s one that many of the seasons new musicals have not cleared for me. And though it’s not the best score of the season—that honor belongs to the peerless Stereophonic—composers Jonathan Clay and Zach Chance’s “Stay Gold” easily clears Stevie Wonder’s “Stay Gold” from the film soundtrack.

Movie or musical: That’s not the only thing about The Outsiders the musical that clears The Outsiders the movie. I’m sure this is sacrilege to those who grew up with the Coppola film, but it’s really only OK. Even without the presence of the Brat Pack, the musical is richer and more emotionally resonant than the movie.