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I’ve been a little sniff-sniffy about “Motown, the Musical,” which opens Sunday at the Lunt-Fontanne.
Its script, by Motown mogul Berry Gordy (with an assist from Dick Scanlan), isn’t exactly “Jersey Boys” — or, for that matter, “Priscilla, Queen of the Desert.”
I suggested Gordy cut a scene in which the actor playing him, Brandon Victor Dixon, comes out from under the covers with Diana Ross, played by Valisia Lekae, and is a bit red-faced because, well, Viagra hadn’t been invented in 1966. Ross says, “At least you have power over other aspects of your life,” the bed slides off the stage, and she breaks into “I Hear a Symphony.”
Scissors, please!
But apparently Gordy brushed off my dramaturgical suggestions because the scene is still there, causing considerable rolling of the eyes among theater snobs.
But you know what? It doesn’t matter. I learned yesterday that “Motown” has the highest advance ticket sale of any new show on Broadway — including the critic-pleasing “Matilda The Musical” and “Lucky Guy” with Tom Hanks.
“Motown” will open with more than $16 million in the bank as compared to $14 million for “Matilda” and $10 million for “Lucky Guy.”
Just yesterday, “Motown” wrapped nearly $300,000, which is pretty much a normal day at the Lunt-Fontanne box office.
The “Motown” team is bracing for “a clobbering” from the critics, says a source. And they’re mildly concerned that the reviews will put a damper on ticket sales.
I doubt it. The fact is, that ever-dwindling group of people who still bother to read critics probably isn’t interested in seeing the show in the first place. And those who do want to see a musical called “Motown” probably don’t care what Ben Brantley, Jesse Green, Terry Teachout or George Jean Nathan have to say about anything.
In addition, the reviews are going to be swamped by upbeat media coverage of Sunday night’s opening. The guest list reads like the Songwriters Hall of Fame, albeit the ’60s and ’70s wings: Smokey Robinson, Gladys Knight, Barry Manilow, David Geffen, Aretha Franklin and, that diva of divas herself — Ross, “The Boss.”
I have a feeling that, Gordy’s script notwithstanding, Sunday’s opening is going to be a hoot.
I’ll be there with my well-worn “An Evening With Diana Ross” album from 1977 — and a pen!
It’s going to be interesting to see how the Tonys treat “Motown.” I can’t imagine the show will be nominated for Best Musical. That category will be filled out by “Matilda” (which will win), “Kinky Boots,” “Hands on a Hardbody” (which closes tomorrow) and, probably, “A Christmas Story.” But “Motown” should pick up some acting nominations. And it may well win Best Sound Design. Don’t laugh: I hear the sound system is terrific, which is unexpected because the sound on Broadway leaves a lot to be desired.
But it would be silly to the point of idiotic for the Tonys to give the back of the hand to a show about Motown that’s selling as well as this one is.
Are you going to open a national television awards show with a song from “Cinderella,” or with a medley of hits from Diana Ross and the Supremes — with, perhaps, a special appearance by The Boss herself?
(I’m still plugging for a Barry Manilow–Bette Midler opening number from their days at the Continental Baths, but that might be better suited to the GLAAD Media Awards than the Tonys.)
CBS executives are pretty much calling the shots these days at the Tonys. That’s because the two organizations that administer the awards — the Broadway League and the American Theatre Wing — are so afraid the show will wind up on NY1 someday that they’ll do anything CBS tells them to.
So expect this year’s Tonys to look an awful lot like a salute to Berry Gordy and the music of Motown.
We could do a lot worse.