We take a look at how New York critics have been taking to the stage adaptation based on the television show.
The Guardian: *** “With these zingy supporting performances, it’s entirely possible that those who haven’t seen the TV show will receive Schmigadoon! as an uncomplicated good time, both an affectionate send-up of shows still performed at American high schools everywhere and a tribute to why they endure despite outdated elements. But even without watching the original version, some viewers will probably anticipate certain jokes and turns – at this point, revelations of chaste queerness are practically obligatory in a Broadway showstopper, and even the friendly brand of satire on offer here ultimately feels a little soft.”
Deadline.com: “The cast, under Christopher Gattelli’s spirit-matching direction and choreography, seem to be having the time of their lives, and why not? Gasteyer’s comic chops have diminished not an iota since her long-ago SNL days, and her uptight Elmira Gulch prickliness is as flawless as her “Trouble in River City,” I mean, “Tribulation in Schmigadoon” delivery. If Cinco Paul ever gets around to a stage sequel advancing his Broadway timeline, Gasteyer needs “Last Midnight” like Mandy Patinkin needed to finish that damn hat.”
Variety: “But the effervescent stage show, from creator Cinco Paul and director-choreographer Christoper Gattelli, is all but irresistible — a giddy love letter to the form that’s enough to turn even the most skeptical curmudgeon into a walking heart-eye emoji.”
New York Theatre Guide: “But both for fans of the TV show and for new audiences, it’s a gift to get such a thoughtful, well-done, and hilarious tribute to the Golden Age of Broadway. Schmigadoon! is a pure delight for any fan of musical theatre, both beautiful to behold and guaranteed to make you smile and laugh. So grab some corn puddin’ and bid on that basket.”
Time Out: **** ” But most of all, this version has a quality essential to the excitement of Broadway musicals that the TV series could never have: It’s live. Having liked the series very much, I admit that I too was skeptical that I needed to see another Schmigadoon! But what can I say? Yee honk.”
New York Post: ** “There’s a lot of hyperactivity here, not least from director and choreographer Christopher Gattelli, who throws in fast, aerobic dancing wherever he sees the smallest gap. Why such an abundance? You feel exhausted for the ensemble. And I guarantee you there is not a single Golden Age musical with this many dance numbers. Gattelli’s best contribution, and most in the spirit of whatever this is, is a dream ballet in Act 2.”
Theaterly.com: “While some may toss Schmigadoon! aside as a frivolous night out, Paul has created a world deeply rich in humanity, charm, and musical theatre heritage. Go do yourself a favor and get trapped in Schmigadoon, I think we could all use it right about now. “
Theater Mania.com: “Brightman and Chase, as our anchors to reality, don’t get Schmigadoon!’s flashiest moments. The former, who’s used to being run ragged in shows like School of Rock and Beetlejuice, sings the sum total of a song-and-a-half. But between Brightman’s straight-faced misery and Chase’s cautious delight, they’re a winning pair of tour guides whose quotidian chemistry keeps us invested through all the silliness. It’s that lingering hint of a raised eyebrow that allows us to fully give in to the comedy and the fantasy of Schmigadoon!, a simple, musical wonderland “where the men are men / and the cows are cows.””
Entertainment Weekly: “The audience also laughs plenty, something the onscreen actors didn’t have to contend with between jokes. Despite being so early in the show’s run, the cast demonstrates an innate sense of timing — allowing jokes to breathe without sacrificing pace. Key to this is filling the spaces between lines, something Chase and Brightman do masterfully while they pause between each line for the ensemble to sing about their bickering during “Lovers’ Spat.””
amNewYork: “Brad Oscar brings sturdy comic authority to Mayor Menlove, and Ana Gasteyer leans into the severity of the moralizing Mildred Layton. Ann Harada, reprising her role from the series, fits comfortably into the show’s stylized world.”
To find out more about the production visit: https://schmigadoonbroadway.com/