Running since February 2014 Direct from Germany, a stage adaptation of Sylvester Stallone's Oscar winning underdog story, featuring songs by Tony winners Lynn Ahrens and Stephen Flaherty.
The Broadway production of Rocky closed August 17, 2014. For current Broadway show listings and tickets, please click here.
According to press notes, "Rocky" is a "visceral and heart-stopping theatrical experience, an adrenaline-infused spectacle and a surprising tale of blossoming romance between two lonely outsiders."
Golden Circle Seats: Approximately 90 audience members in the first few rows will be escorted on stage to watch the climactic 20-minute fight scene from bleacher-style seats. (more info)
This show (or "Rocky das Musical" to be more exact) was first produced in Hamburg in 2012. To read Patrick Healy's NY Times piece about the process of creating the show, click here. The Broadway production, like the Hamburg original, is directed by Tony nominee Alex Timbers.
Broadway veteran Andy Karl ("9 to 5," "Legally Blonde") plays the title role, and newcomer Margo Seibert plays his painfully shy love interest.
Songwriters Lynn Ahrens and Stephen Flaherty won London's Olivier Award in 1995 for "Once On This Island" and a Tony Award in 1998 for "Ragtime."
Golden Circle (continued): Golden Circle ticket holders will be required to climb a small set of stairs, will only be able to take a small handbag or coat on stage, and will not be able to return to their original seats after the show. The theater will provide a free coat check for Golden Circle ticket holders to facilitate this unusual opportunity.
"Rocky" is big-hearted, quick-fisted and predictable, but its last 15 minutes pack the punch of a heavyweight champ. The fight finale delivers a thrilling mix of real-time hooks and jabs, slow-mo fury and stop-action bloody explosions. Impressive performances and eloquent design work enrich the story, but the by-the-numbers script and score alternately fight it.
Puzzling...both lovingly faithful to the film, and one that seems to forget it's supposed to be a musical midway through Act II. [The] score is intriguing but fails to really land a knockout punch. The set's highlight is the moving boxing ring...At this point, "Rocky" is trying to be immersive. The cost is its soul.
Director Timbers remains faithful to the indie spirit of the [film]. The best lines are lifted directly from Stallone's screenplay. The real trouble is that Flaherty's bland new songs merely shadowbox at melody and never land the pop-rock punch they often seem to be seeking. Even so, "Rocky" delivers edge-of-your-seat thrills - particularly in the final 15 minutes.
New York Magazine
A garishly colorful bloated mess...because garage-band writing, however apt for the material, doesn't develop but rather repeats in torpid cells, the songs don't lift. The Adrian-and-Rocky scenes are overtly touching and very well played. But anything not involving the love story is set in bold italics and acted as if from billboards, with giant winks and indications.
New York Post
Something electric happens at the end of "Rocky." Problem is, that finale is preceded by an hour and a half of less thrilling moments. [The] book hits all the film's classic scenes. Flaherty and Ahrens'score lacks energy, not to mention soul. The epic brawl wipes them all out, and resets the audience's memory so we leave on a Himalayan high. "Rocky" does win, after all.
New York Times
The climatic boxing match becomes a crowd rouser...[in] this otherwise leaden show. What [the creators] have given us is a show that at first feels like a flat liner. This "Rocky" doggedly refuses to camp it up. It stays honestly sincere. The songs, like the characters, mutter solemnly and repetitively. True kinetic energy doesn't come to "Rocky" until very late in the game.
"Rocky" lacks conflict. Oh, there is plenty of punch in the finale...But we wouldn't call that drama. This earnest show [is] directed with more conscientiousness than flair by Timbers. But there is a sweet center here. The music and lyrics [are] generic soft-pop ballads and inspirational-power songs. Bottom Line: Good boxing, no conflict.
[A] Cinderella story elevated to new levels of bombast in a live production..."Rocky" will leave you similarly energized. But this musical adaptation is actually at its most affecting when things quiet down a little. Flaherty and Ahrens deliver one graceful song early on...But other numbers mix predictable sentiments with overheated rock accents.
Despite [the] razzle-dazzle opening, the first act is the soft one. While [the] succession of ballads could put you to sleep, they do their job of winning hearts. In Act Two, Timbers lets the techno-wizards off the leash. The fight itself is a brilliant piece of staging. Happily, the actors are not swallowed up by all the technology.
Wall Street Journal
The stage version, directed with immense panache and soaring physicality by Timbers, is very nearly as good [as the film], an unpretentious slice of honest entertainment whose rock-'em-sock-'em finale will set the snobbiest of theatergoers to cheering in spite of themselves. Like the film, it gives you lots of what you want.