The year is 1973 and it's all happening. Led Zeppelin is king, Richard Nixon is President, and idealistic 15-year-old William Miller is an aspiring music journalist. When Rolling Stone magazine hires him to go on the road with an up-and-coming band, William is thrust into the rock-and-roll circus, where his love of music, his longing for friendship, and his integrity as a writer collide. Almost Famous is about a young man finding his place in the world and the indelible characters he meets along the way. It's a celebration of community, family, fandom and the power of music.
Tom Kitt wrote the music for “Next to Normal,” and with “Almost Famous,” he is credited as co-lyricist and composer of most of the score. He is at his best with dreamy ballads like “Morocco,” nicely sung by Pfeiffer, that convey a sense of elusive longing. But after a few of these songs, Kitt’s penchant for the 4/4 time signature becomes a kind of corn syrup poured over the entire score. The real Stillwater songs “Fever Dog” and “I Come at Night” make brief appearances, when the band is practicing or performing onstage. More telling is the use of Elton John’s “Tiny Dancer” to end Act 1 – a verbatim re-creation of a scene from the movie. What is happening here as the band travels on the road in their bus? Did someone in Stillwater turn on the radio, and having a brief lapse of good taste, prefer Elton John to anything written by Tom Kitt?
Kitt and Crowe also fashion several effective numbers sung by William's no-nonsense but supportive mother Elaine (Anika Larsen), a schoolteacher who frets from home. Here, she's given variations of the film's great monologues: One is a lecture to her class in which she memorably declares, 'Rock stars have kidnapped my son,' and in another, she gives Russell a dose of parental terror over the phone. Larsen lands both moments beautifully, with just the right comic gravitas and heart. But these skillful original songs only tell half the story. We never hear expressed - in a way that only musical theater can do - what this music means to these characters. Instead, at key dramatic moments we get renditions of the hits of the era, notably Elton John's 'Tiny Dancer' as a kind of carpool karaoke, Joni Mitchell's 'River' and Yusef Islam's (aka Cat Stevens) 'The Wind.' But even in minor moments the musical forgoes original songs and turns to tunes from Nancy Wilson, Ron Davies, Stevie Wonder, Greg Allman, Jimmy Page and Robert Point, among others.
2019 | San Diego, CA (Regional) |
The Old Globe Premiere Production San Diego, CA (Regional) |
2022 | Broadway |
Original Broadway Production Broadway |
Year | Ceremony | Category | Nominee |
---|---|---|---|
2023 | Drama Desk Awards | Outstanding Music | Tom Kitt |
2023 | Drama Desk Awards | Outstanding Sound Design of a Musical | Peter Hylenski |
2023 | Drama Desk Awards | Outstanding Wig and Hair | Campbell Young Associates |
2023 | Theatre World Awards | Theatre World Awards | Casey Likes |
2023 | Tony Awards | Best Original Score (Music and/or Lyrics) Written for the Theatre | Tom Kitt |
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