Critical reaction Allegiance (musical)

david henry hwang , george takei discussing allegiance @ columbia university in late 2015

critical reception broadway production mixed. while cast praised, takei s characterization , salonga s singing, reviews criticized poor execution of worthy subject, lyrics. majority of critics admired allegiance s noble intentions illuminate dark corner of america’s past, found book melodramatic , score derivative. alexis soloski of guardian called musical unexceptional though affecting , gave 3 stars out of five. liked of 1940s style songs said of ballads none of melodies linger once curtain has fallen , lyrics pile on platitude , cliché.

entertainment weekly s review singled out takei s performance providing much-needed islands of levity amidst sea of sadness. ... allegiance important show phenomenal cast, , deserves seen. rex reed, in new york observer praised book, score , direction, writing: [finale] brought tears eyes. audience overwhelmed. screams voluminous. songs carry aloft on wings of triumph, , greatest cast of under-used asian talents since flower drum song , pacific overtures brings cheering crowd feet every night standing ovation deserved. linda winer in newsday commented musical carries heavy baggage surprising lightness of spirit. ... show has developed characters, strong cast , new story tell in old-fashioned way. san diego union-tribune, having reviewed original production @ old globe in 2012, more positive, feeling new production, retains both powerful story core , deal of lush , melodic score, along top cast members original version. ... @ best, “allegiance” gracefully shapes dramatic , historical contours epic – in spirit of gaman – coaxes fierce beauty once-poisoned soil. in review gave allegiance 3 stars out of four, usa today felt though show, corny kansas in august , obvious lady gaga on red carpet ... [but] if can make critic sneered in first act leave theater little teary-eyed, re doing right. deadline magazine called allegiance significant addition broadway season offers alternative take on american experience. ... validation hardly worst crime show can commit, , think that’s 1 reason audience cheering @ moving end of show. it’s triumph of rare sort, shedding light in dark corner of our history uncommon generosity of spirit.

in new york times, however, charles isherwood praised performers wrote: show wants illuminate dark passage in american history complexity , honesty, first requirement of broadway musical entertain. while well-intentioned , polished, allegiance struggles balance both ambitions, , doesn’t find equilibrium. variety felt that, despite performances , designs, well-intentioned story have been better suited play, , in sincere efforts humanize complex historical material, creatives have oversimplified , reduced generic themes. in similar way, hollywood reporter felt musical, broad-strokes storytelling ... seems ill-suited examining such complex issues, , book s superficial character development doesn t either. michael dale of broadwayworld.com admired cast, thought allegiance, while not bad theatre piece, underachieving one. large number of songs seen problem huffington post, noted: though kuo has written lot of it, score doesn t make grade. mark kennedy of associated press complained of jarring writing, commenting: there long periods of unrelenting misery, families ripped homes , subjected brutality vindictive white soldiers. there s song joys of baseball. gives way scenes dangerous, choking dust storms, dead baby , jail beatings. there happy sock hop. critical of both score , script, jesse green of vulture thought outside of several moments, of show devoted far-fetched plot twists attempts gin excitement silly in shadow of larger forces @ work. terry teachout of wall street journal praised takei, salonga , arima s direction, , felt set worthy of tony award, criticized kuo s score, , deemed show of no artistic value whatsoever, save object lesson in how write bad broadway musical.