In a prior life, I was a substitute (science) teacher at Scarsdale High School. The casual conversation I remember among the boys was about how superior BMWs were over every other car brand. If you can conjure up that image, you have an idea of the precious kids in the classroom at the wryly-named Horace Green school. In comes a substitute teacher, “Mr. Schneebly” (Alex Brightman as Dewey Finn, more on that later) who no one in their right mind would have expected to last for more than five minutes at Horace Green. That he does, and brings the audience with him, is the measure of success of Andrew Lloyd Webber’s new musical take on the Paramount film that catapulted Jack Black to stardom. What we have here is a classic case of what we are all supposed to do in the theatre – suspend disbelief.
There is nothing plausible in this story nor was there in the film, whose outline the show follows faithfully, although with new dialogue written by Julian Fellowes (Downton Abbey). The result is a little less raunchy and, frankly, hysterical. The cast is full of talented kids who actually play their instruments. And while the plot revolves around the exploits of one Dewey Finn, a failed rock musician, what grabs you is how each of the children come into their own, from the shy non-talker to the future fashion stylist. Ultimately, this is a show about the realization of ambition and, if you will, love – between both parents and children as well as stifled adults.
It’s nice to see Sir Lloyd Webber (Jesus Christ Superstar, Evita, Cats, The Phantom of the Opera) near the top of his game again after about 20 years without a hit on Broadway. The score has 14 new songs (lyrics by Glenn Slater – who incidentally wrote a great book about the debacle that was The Spiderman musical) and music from the movie. But in a stage musical, the songs have to tell the story. Webber and Slater take the scene in the movie where Jack Black preaches to the kids that there’s no use trying because, in the end, “The Man” will squash you, and turn it on its head with a great number “Stick It to the Man.” They do a similar trick with “You’re in the Band” inserting snippets of sharp dialogue from the movie into the lyrics.
One could argue that the Winter Garden is Lloyd Webber’s favorite theatre. It’s where Cats ran a then unprecedented 18 years. Like that show, which used the entire theatre – including a staircase through the ceiling, School of Rock benefits from the semi-circular upstairs seating to create a “rock concert” atmosphere, whose impact is heightened by the spot on lighting by Natasha Katz.
Special mention to Alex Brightman in the lead role. Following Jack Black is no mean feat, but Alex’s Dewey Finn character is more centered and, well, likeable. It is always a pleasure to watch Sierra Boggess (Rosalie, the straight-laced head of school) and to hear her soaring soprano when she finally gets a chance to cut loose in “Where Did the Rock Go?”
There are two musicals featuring talented young actors on Broadway right now – the other being Matilda. Together, they represent the yin and yang (in Chinese philosophy, one negative, dark, and feminine (yin) and one positive, bright, and masculine (yang) of life forces. You can guess which one School of Rock represents.
Best for children ages 8 and up. School of Rock – The Musical Winter Garden Theatre 1634 Broadway at 50th Street Tickets: telecharge.com or 212–239-6200 / 800-432-7750
George A. Wachtel is president of Audience Research & Analysis, A New York City-based market research firm specializing in arts and entertainment.
