401:, writing that it gave Dylan's work a "systematic steamrolling" He criticized the show for taking the "metaphoric images" of Dylan's work, "which float miragelike when heard in song," and " down with literal visual equivalents" - and therefore, "even as the dancers seem to fly, Mr. Dylan's lyrics are hammered, one by one, into the ground."
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wrote that "t's hard to describe the show without making it sound like a stoned nightmare," and that "the
Broadway belters have no feel for Dylan's meter or melodies; they just ham up the songs with dumb touches like Ahrab grinding his hips as he sings, 'She makes love just like a woman!'"; Terry
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wrote that "Tharp has no idea how to make the songs dynamic, either planting the singers in declamatory deadlock or having them stride about aimlessly while assorted clowns skip, tumble, flip and bounce on the trampoline surfaces of Santo
Loquasto's junkyard set," so that "even when the songs do
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The show takes place in a setting described as "somewhere between awake and asleep," a dreamlike circus environment in which a coming-of-age conflict between a tyrannical circus master, Captain Ahrab, his idealistic son, Coyote, and a circus performer, Cleo, is told among a choreographed world of
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as "A tale of fathers and sons, of men and women, of leaders and followers, of immobility and change," which "uses prophecy, parable, metaphor, accusation and confession—like the Dylan songs which comprise it—to confront us with images and ideas of who we are, and who it is possible to be.”
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The show received uniformly negative reviews on
Broadway, criticizing it generally for its "addled," "inscrutable," yet also "wearyingly familiar" setting and plot; its circus-inspired staging; and its "prosaic," "literal-minded" staging of Dylan's songs.
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called the show "so bad that it makes you forget how good the songs are," with "prettified singing" that was "all wrong," and wrote that "if you went to see this show knowing nothing about , you'd go home assuming that she was a pretentious buffoon."
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summon some emotional intensity, all the awkward, hokey buffoonery going on in the background (in unfortunate Leigh Bowery-esque costumes and makeup) smothers it." He also criticized the show's "o-hum," "generic father-son plot."
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Premiering in San Diego in
February 2006, the show eventually moved to Broadway, opening on October 26, 2006. The show received uniformly negative reviews, and closed on November 19, 2006 after 35 previews and 28 performances.
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The idea for a dance musical based on Dylan's work was initiated by the artist himself, who contacted Tharp suggesting the collaboration; however, Dylan had no creative input on the eventual production.
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Despite the show's categorization as a "dance musical," Tharp did not consider it so: the show's website called it instead "an original action-adventure fable conceived by Ms. Tharp."
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wrote that the show "plays like an overconceived concert, with Tharp's choreography, as vibrant and physical as it is here, lacking the variety of her earlier work"; Scott Brown of
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called the production "utterly wrongheaded," with Tharp demonstrating that "she clearly has no choreographic bond with music"; Rob
Sheffield of
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Tharp spent a year on research for the production, as well as another year-and-a-half on casting, rehearsing and workshopping.
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The show closed on
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662:"Circus Leaves Town: Bob Dylan-Twyla Tharp Musical The Times They Are A Changin' to Close"
637:"The Times They Are A-Changin' Broadway @ Brooks Atkinson Theatre - Tickets and Discounts"
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PHOTO CALL: Dylan and Tharp
Proclaim The Times They Are A-Changin’ with San Diego Premiere
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In 2002, Twyla Tharp brought to
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473:"The Times They Are A-Changin' – Broadway Musical – Original | IBDB"
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585:"Positively 47th Street: Twyla Tharp brings Bob Dylan to Broadway"
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called the show the worst thus far of the decade's spate of
555:. United States of America: Simon & Schuster. pp.
692:"Stuck Inside the Theater With the Broadway Blues Again"
881:"Twyla Tharp Returns to Broadway With 'Come Fly Away'"
798:"The Times They Are A-Changin' - Theater - Review"
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856:"Bob Dylan Musical: The Times They Are A-Endin'"
283:Michael Dansicker and Bob Dylan - Orchestrations
165:on February 9, 2006 running through March 2006.
176:on October 26, 2006. Sets and costumes were by
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299:The show was performed without an intermission
831:"Theater review: 'Times They Are A-Changin'"
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18:The Times They Are A-Changin' (musical)
101:, conceived, directed and choreographed by
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362:"Gotta Serve Somebody"
356:"Simple Twist of Fate"
347:"On a Night Like This"
323:"Everything is Broken"
320:"Like a Rolling Stone"
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951:Dances by Twyla Tharp
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163:San Diego, California
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418:Entertainment Weekly
412:Frank Scheck of the
393:Ben Brantley of the
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184:. The cast featured
317:"Just Like a Woman"
956:Works by Bob Dylan
885:The New York Times
802:The New York Times
527:The New York Times
414:Hollywood Reporter
374:"I Believe In You"
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180:, and lighting by
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507:2022-03-08
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459:References
186:John Selya
128:Movin' Out
123:Billy Joel
117:Background
893:0362-4331
810:0362-4331
385:Reception
377:"Dignity"
99:Bob Dylan
76:San Diego
65:Bob Dylan
55:Bob Dylan
666:Playbill
641:Playbill
532:June 10,
444:See also
233:Ensemble
170:Broadway
143:Playbill
81:Broadway
777:Variety
406:Variety
172:at the
95:musical
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724:EW.com
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215:Coyote
61:Lyrics
557:50–51
79:2006
74:2006
51:Music
889:ISSN
806:ISSN
561:ISBN
534:2019
227:Cleo
696:WSJ
161:in
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