Christiani Pitts as Ann Darrow in 'KING KONG. & # 39; (Matthew Murphy) NEW YORK – If you're going to pay $ 150 or more to see the best Thanksgiving parade ever, I've got a show for you! Beware, though: there are some strings attached. And not just for the two-thousand-pound beast made of steel and carbon fiber run by a large number of puppets, whose roar makes the Broadway Theater beams shake. Because when you're not impressed by the awesome engineering that went to the stellar performance of the evening, you'll have to submit to what appears to be the equally animatronic contribution of the writers and director-choreographer of the new Broadway musical "King Kong." the dark Australian concoction, staged by Drew McOnie, is the Broadway theme park in its utmost transparency. It's a perfect example of how investor-led manufacturing entities now try to build musicals that the audience wants, rather than what artists want to create. It is a theater born on a spreadsheet. Like the recent discoveries of "Pretty Woman" on Broadway and "Beetlelejuice" in Washington, "King Kong", which had its official opening on Thursday evening, presents itself as two acts of desperate cannibalization of past inspiration. For a good reason, the giant puppet – designed by Sonny Tilders – receives the last curtain on "King Kong". Over the course of two and a half hours, the musical identifies just three other essential characters: the ruthless showman Carl Denham (Eric William Morris); his insecure assistant, Lumpy (Erik Lochtefeld) and the most critical unfortunate actress, Ann Darrow (Christiani Pitts). Inheriting the coat of Fay Wray, Pitts befriends the monkey after a heartbreaking encounter with Skull Island, and for the rest of the show, Anna fights with her conscience on the ethics of gaining low-cost fame by helping to trap King Kong and put him on display in New York. Pitts sings most of the score, Eddie Perfect from Beetlejuice, along with Marius de Vries and five others. His work here is impossible, as the songs empty the conscience immediately after the notes have been generated. Otherwise, the music is limited to serving the aggressive and spectral choreography of McOnie for an ensemble that plays various hunters, sailors and showgirls. Pitts, meanwhile, is portrayed to pick up a second ungrateful banana, excuse me, to a car. The "King Kong" mechanisms often mimic those of a film. Scenography designer and set designer Peter England oversaw the installation of what looks like a huge video screen, on which the backdrops for epic scenes like the scaling of the beast of a Manhattan skyscraper are represented. These devices, with their enormous dimensions and their violent impact, feel like they want to erase the impression of being at the theater live, not to improve it. They are triumphs of the consul, not the rehearsal room.
King Kong is a 2,000-pound beast made of steel and carbon fiber. (Matthew Murphy) Do not make mistakes. King Kong is big and scary, with a ferocious series of helicopters, shoulders and over-developed hands that could crush SUVs. Its effect on you is real. The expressive eyes, however, strike him more human than anyone else on stage. Ann tells him that it seems sad; I would say, it's more worried. King Kong, music by Eddie Perfect and Marius de Vries; Jack Thorne's book. Directed and choreographed by Drew McOnie. Sets and projections, Peter England; drawing of the creature, Sonny Tilders; costumes, Roger Kirk; lighting, Peter Mumford; sound, Peter Hylenski; air movement, Gavin Robins; orchestrations, Christopher Jahnke. About 2 and a half hours. $ 89- $ 399 of the Constitution. At the Broadway Theater, 1681 Broadway, New York. telecharge.com or 212-239-6200.