![]() Waters serves as creative consultant, isn’t monstrously pushy like “Young Frankenstein” or dispiritingly inept like the latest “Grease.” It might be more fun to write about if it were. Sara Krulwich/The New York Timesįor the record “Cry-Baby,” on which Mr. "Cry-Baby: The Musical," with James Snyder and Elizabeth Stanley, center, at the Marquis Theater. This show in search of an identity has all the saliva-stirring properties of week-old pre-chewed gum. ![]() When I said “tasteless,” I meant without flavor: sweet, sour, salty, putrid or otherwise. The mild-mannered “Cry-Baby: The Musical,” inspired by “Cry-Baby,” the 1990 film about a high school rock ’n’ roll rebel in 1950s Baltimore, shouldn’t offend anyone, despite its inclusion of a singing man in an iron lung, a love ballad devoted to kissing “with tongue” and blithe references to people dying in electric chairs. Waters, the maker of “Pink Flamingos” and “Polyester,” who helped put America in touch with its hidden, forbidden appetites for the vulgar, trashy, tacky, freakish and seriously offensive. That would be expected of any project associated with Mr. You thought that I meant the show that opened last night at the Marquis Theater was in bad taste. “Cry-Baby,” the latest Broadway musical based on a John Waters movie, is. Brace yourself for a shock, gentle theatergoer. ![]()
0 Comments
Leave a Reply. |
AuthorWrite something about yourself. No need to be fancy, just an overview. ArchivesCategories |