‘Please don’t fart, this is art’ – Stephen Sondheim’s musical The Frogs review

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"Review of Stephen Sondheim's Musical 'The Frogs' Highlights Humor and Musicality"

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AI Analysis Average Score: 7.3
These scores (0-10 scale) are generated by Truthlens AI's analysis, assessing the article's objectivity, accuracy, and transparency. Higher scores indicate better alignment with journalistic standards. Hover over chart points for metric details.

TruthLens AI Summary

Stephen Sondheim's musical 'The Frogs' offers a unique blend of ancient Greek satire and modern wit, making it a noteworthy experience for theatergoers. The show opens with an engaging fanfare and a humorous plea to the audience, setting a light-hearted tone that persists throughout the performance. Central to the narrative is Dionysos, portrayed by Dan Buckley, who embarks on a comical journey to the underworld, accompanied by his 'intern' Xanthias, played by Kevin McHale. Their mission is to retrieve a deceased genius, with Dionysos favoring Shakespeare over George Bernard Shaw in a humorous twist. The production, which originally debuted at Yale in 1974 before being expanded for Broadway in 2004, struggles at times with pacing, as the scenes often resemble skits rather than a cohesive narrative, showcasing Sondheim's signature clever lyrics and musicality amidst the comedic chaos.

As the story unfolds, the musical's exploration of themes such as change and tradition is somewhat muddled, particularly in the depiction of the frogs, who symbolize resistance to progress. The choreography, led by Matt Nicholson, adds a visual flair with whimsical ballet sequences featuring the frogs, yet the production falters in delivering a strong narrative arc, especially during the drawn-out debate between Shaw and Shakespeare. Despite these shortcomings, Sondheim's music shines through, with clever rhymes and melancholic undertones that elevate the material. The show ultimately balances humor with poignant moments, even if the overall execution leaves something to be desired. Although 'The Frogs' may not fully realize its potential, it remains a delightful showcase of Sondheim's musical genius and a playful nod to the absurdities of both life and art.

TruthLens AI Analysis

The review of Stephen Sondheim's musical "The Frogs" provides an engaging insight into a production that merges ancient Greek satire with contemporary musical elements. The article's tone is both critical and celebratory, highlighting the unique aspects of the show while pointing out its shortcomings.

Purpose of the Article

The review aims to inform readers about a theatrical production that may not be widely known, particularly emphasizing its humorous and satirical elements. By discussing the musical's origins and its evolution, the article seeks to position "The Frogs" within the context of Sondheim’s broader work, inviting audiences to explore this lesser-known piece of theatrical art.

Public Perception

The piece likely intends to cultivate an appreciation for Sondheim's work among theater enthusiasts while also critiquing specific elements of the production that may not resonate with all audiences. There is an underlying encouragement for audiences to engage with the arts, even those pieces that may have flaws, which can foster a more open-minded cultural dialogue.

Potential Concealment

While there may not be overt attempts to hide information, the review does not delve deeply into the socio-political commentary that might be present in the musical, focusing instead on its entertainment value. This could be seen as a way to encourage audiences to approach the work without preconceived notions, although it might underplay the relevant thematic discussions.

Manipulative Elements

The review employs humor and light-hearted commentary to engage readers, which may serve to soften any criticisms of the musical. The playful language and vivid descriptions create an inviting atmosphere, potentially steering readers toward a more favorable view of the production despite its flaws.

Truthfulness of the Content

The review seems credible, providing specific references to the musical’s content and the performances of the cast. However, the subjective nature of reviews means that personal biases may color the interpretation of the material presented.

Cultural Messaging

The review communicates a message that values artistic exploration and the importance of engaging with various forms of art. It suggests that even less successful productions can offer worthwhile experiences, promoting a culture of acceptance and curiosity in the arts.

Connections to Other News

While the review itself focuses on a specific theatrical production, it may connect to broader discussions about the state of the arts, particularly in a post-pandemic context where theaters are recovering and audiences are re-engaging with live performances. This could relate to ongoing conversations about funding for the arts and public interest in cultural events.

Impact on Society and Economy

The article could influence public interest in attending theater productions, potentially boosting ticket sales and local economies associated with the arts. A renewed enthusiasm for such performances might encourage communities to support artistic endeavors, positively impacting cultural scenes.

Target Audience

The review likely appeals to theater aficionados, Sondheim fans, and individuals interested in the intersection of classic literature and modern performance. It may also attract those who enjoy humor in theater, as well as casual audiences looking for entertainment options.

Market Implications

While the review may not directly impact stock markets or specific shares, it could influence theater companies and production houses, possibly affecting their programming and investment strategies based on audience reception and interest in similar productions.

Global Context

Although the review centers on a theatrical performance, it reflects broader societal themes such as the importance of art in times of change. It may resonate with current global narratives around cultural resilience and the role of satire in addressing contemporary issues.

Artificial Intelligence Consideration

There is no clear indication that AI was used in the writing of this review. However, if AI were involved, it could have influenced the tone and structure to ensure engaging language and a balanced critique of the production. AI models that analyze audience sentiment or popular trends in theater might have shaped the approach, though this is speculative.

In conclusion, the review serves to promote engagement with a specific artistic work while providing a critical lens through which audiences can assess their own experiences with theater. Its overall reliability appears strong, supported by specific observations and a clear understanding of the subject matter.

Unanalyzed Article Content

The interval playlist includes Crazy Frog, which isn’t byStephen Sondheim. But the composer’s own springy numbers are the best reason to catch this rarely seen musical based on ancient Greek satire.

Aristophanes, writing at the fag end of a protracted war, conjures demigod Dionysos, accompanied by Xanthias, his slave (“though I prefer ‘intern’”). He braves the underworld to reclaim a dead genius, picking Aeschylus over Euripides. The musical’s Dionysos considers George Bernard Shaw, but eventually plumps for Shakespeare.

Originally staged at Yale in 1974 (Sondheim: “One of the few deeply unpleasant professional experiences I’ve had”), it was expanded for Broadway in 2004 (Sondheim: “It suffered from inflation”). The extended version takes a jape too far.

We open with the best number: a fanfare plus jaunty injunctions to the audience (“Please – don’t fart. / There’s very little air and this is art”). Dan Buckley’s droll Dionysos and Kevin McHale’s Xanthias, all wriggle and snicker, begin their quest, though Burt Shevelove’s book makes scenes feel more like skits. Herakles (Joaquin Pedro Valdes) is a himbo totting up his abs, the boatman Charon (Carl Patrick) a lugubrious stoner and Pluto, lord of the underworld, has a breathy cabaret number delivered by regal guest star Victoria Scone in a brushed steel bouffant.

The musical never develops Dionysos’ daddy issues or frog phobia, or nails its notion that the ribbiting amphibians represent stick-in-the-mud grouches impervious to change. The frogs get a waddling ballet, in goggles, bobble toes and spangly waistcoats – choreographer Matt Nicholson devises nifty, wide-legged moves. But Shaw’s battle with Shakespeare, trading smug aphorism and voluptuous word-painting, is an awful slog, unleavened by Georgie Rankcom’s heavy-footed production.

“You can stop rhyming right there,” snaps Dionysos, but it would take more than a testy god to halt Sondheim, for whom rhyme was reason. “Hippy-dippy insurrectionists” meet “hasty pasty-faced perfectionists,” while a song to Shaw moves from animosity through pomposity to verbosity. Melancholy songs also slide between the shtick (Sondheim has a bittersweet tooth). The god’s final call to arms can’t give gravity to this show – but however stodgy the setting, the songs still shine.

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Source: The Guardian