THIS HARDLY SURPRISES ME. HADLEIGH IS ONE OF THE MOST FOCUSED, TALENTED AMAZING MEN I HAVE MEET. HE WILL DO FUCKING WELL AT WHATEVER HE DOES, WHICH IS OPERA. HUGE CONGRATULATIONS DUDE. YOU DESERVE ALL THE SUCCESS THAT COMES YOUR WAY.
Hadleigh Adams’s Jesus is a resonantly irascible figure,
FROM THE GUARDIAN……..
The presence of Hadleigh Adams’s beguiling Jesus ensures that the arias and choruses become reactions to the life and death of an individual, rather than abstract expressions of devotion: after his solitary walk to his off-stage Calvary, we are painfully conscious of his absence.
FROM OFFICIAL LONDON THEATER
The character of Jesus is actually strangely quiet for much of the evening, though when Hadleigh Adams does sing, it is with a voice that would inspire people to follow him or quake in fear. As he stands or kneels alone on the stage his face is a picture of sorrow and anger.
WOO HOO GREAT REVIEWS BABE. REVEL.
The Times of London claimed Madonna had made an inadvertent comedy “screamingly, inadvertently funny in parts [that] had ‘em rolling in the aisles at Venice” The Guardian review was truly vicious under the headline, “Madonna’s jaw-dropping take on the story of Wallis Simpson is a primped and simpering folly, preening and fatally mishandled”. Only the Daily Mail gave it a true thumbs-up.
AND FROM THE HUFFINGTON POST…..
As the credits roll at the end of the film, which Madonna also co-wrote, is a list of 120 “Thank Yous.” The most surprising names included, “Nazi propagandist Leni Riefenstahl and Hitler-loving fashion designer John Galliano,” reports The Daily.
The surprising credits were first mentioned by In Contention writer Guy Lodge, who suggests in his review of “W.E.” that there may in fact be fair reasons for these credits. He writes:
The names may be there for perfectly fair reasons. Galliano is a genius fashion designer, and Madonna’s film is nothing if not well-dressed. Riefenstahl was a genius metteur en scène, and Madonna’s film is nothing if not — well, perhaps she just likes Riefenstahl’s films, even if any claim of creative influence would be on the tenuous side.
The irony of thanking two prominent alleged Nazi sympathizers, mere minutes after “W.E.” goes to manful if unconvincing lengths to discredit any suggestions that the Duke and Duchess of Windsor had similar leanings, is incidental, and perhaps a little cheap to pick on, but merely one small symptom of Madonna the Auteur’s astonishing lack of self-awareness.
The verdict seems to be even with dumping danger freak Julie Taymor, the songs are weak and weaken the piece.
Joe Dziemianowicz, NY Daily News: Emerging from all that tangled drama, Spidey 2.0 is more cohesive, streamlined and funnier than before, and its thrills are still intact – though it is still weighed down by so-so songs. “Spider-Man” isn’t a great, gourmet meal, but it’s a tasty diversion.
Chris Jones, Chicago Tribune: For those who do — or those for whom flying around to impress a girl and save the world sounds like a Saturday night of all Saturday nights — Broadway now has an efficient, very expensive, very new comic-book musical with cool effects, some amusements, a brooding hero in Carney, a somewhat shellshocked but spunky heroine in Damiano, and, I predict, a line out the door for a good long while. And, of course, pending clones.
Peter Marks, Washington Post: What swings from the rafters, springs from the wings and bursts from the stage floor of the Foxwoods Theatre is a definite upgrade from the flailing behemoth on view in February, when I and a bunch of other reviewers, tired of the delays, took a gander at what director Julie Taymor had wrought. Still, in the story set to rock music by Bono and the Edge – of meek Peter Parker’s acquisition of spidery agility and subsequent battle royal with the dastardly Green Goblin – this effects-driven musical is still situated a wide canyon’s distance from good.
The New York Times, The Los Angeles Times, and Variety are among the news outlets that have weighed in on the high-profile production over the past 24 hours, breaking with Broadway tradition by ignoring the show’s official March 15 opening date. Many of the critics noted that Feb. 7 was Spider-Man‘s scheduled debut before the most recent postponement so good they have.
Read on, MacDuff……….
“Spider-Man is not only the most expensive musical ever to hit Broadway; it may also rank among the worst.” –Ben Brantley, The New York Times
“Julie Taymor’s $65-million, accident-prone production, featuring an erratic score by U2’s Bono and The Edge, is a teetering colossus that can’t find its bearings as a circus spectacle or as a rock musical.” — Charles McNulty, The Los Angeles Times
“[The] story… is sketchy and ill-formed. Some of the dialogue, by Taymor and Glen Berger, seems ad-libbed on the spot and there are a couple of big holes in the story.” — Steven Suskin, Variety
“[A]n underwhelming score is the least of the show’s worries. What really sinks it is the borderline incoherence of its storytelling… For rubberneckers eager to see what the fuss is about, there may be enough noisy spectacle here to convince them they’ve seen something. But when this amount of time and money is tossed at a show, even demanding theatergoers should be awed, not bored.” — David Rooney, The Hollywood Reporter
“The 8-year-old boys in the audience might be able to key on the Cirque du Soleil-style stunts on wires and video-game graphic elements, and probably not worry too much that Spider-Man is a tangle of disjointed concepts, scenes and musical sequences that suggests its more appropriate home would be off a highway in Orlando. Come to think of it, the optimal audience might be non-English-speaking.” — Peter Marks, The Washington Post
“The second act, taken all in all, is basically how I’ve always imagined the Björk–Matthew Barney honeymoon: lots of atavistic rock-moaning, lots of 40-story phallic symbols, lots of bees.” — Scott Brown, New York Magazine
Oh dear. What a total mess. So much hate. So much misery.
What was wrong??
1. The ‘Maori’ content added nothing to the story. The ‘maori’ content consisted of some ‘Kapa Haka’ clips of the annoying child actor and George Henare speaking maori. Since they changed the character from white to maori there should have been some reason.
They SHOULD have covered Maori reaction to gayness. But it would appear the change was made for funding? Because it added nothing to the story.
2. The lead actor stunk. Victor from ‘Shortland Street’ has got no better. ‘Gay’ does not mean you whisper and act like a pussy. And the hair was just awful.
3. There were two ‘Out Gay Characters’ on the show. One was a total chunky 50′s Queen who has not been seen around NZ since Hudson and Halls were on TV. What a foul portrayal. The other was the young, actor boyfriend who was written pencil thin. Dean O’Gorman was also too old for the part. Needed to be played by any of the many 20something actors out there.
4. So, he would have married during the 1990′s.…..WTF???? That makes no sense. The closet cases who got ‘married’ were getting extinct by then. And as we knew nothing of his whanau or ‘life’, that just seemed like total bullshit.
5. The fairy wand.…..Don’t ask.
6. The wife having a good chunder when she found out the ‘dark secret’. FUCK YOU, whoever wrote this pile of crap.
7. The person who said ‘warrior’ in the sauna. LMAO. All the ‘gay sex’ scenes were just so bad, and had no intensity or truth.
8. The father was fine with the gayness of his son, but not the Mother. FUCK YOU again bad writer, whose name’s Kate McDermott. Please, never write anything gay again, you useless thing.
9. The end. Just everything about the fake end.
What was good?
Pana Hema Taylor as the son. Very real teenager. Played the truth of the character. Totally hot and built. Shame we never got to see his reaction to his Fathers coming out. But that would have been interesting………………
So, a pile of fake, gay hating horse shit.
A big FUCK YOU to all involved.