|Golden, Green |
Photo: Matthew Murphy
And then Annie is recruited to be a bounty hunter. After intense training, she is sent with a reluctant partner to South America to bring back the drug lord Mac Roundtree. Unsurprisingly, Annie and the partner grow to like each other.
Every part of Broadway Bounty Hunter plays with-satirizes-honors-relies on '80s movie styles or cliché tropes or other musical satires or union organizing (really) or the usefulness of acting skills in real-life situations. The energetic cast works their butts off as the show roller-coasters from event to event, song to song, dance to dance, and joke to joke. It is a noisy, in-your-face, overdone, silly evening. And if you like that sort of thing, you might well love it.
I sometimes like that sort of thing, and I had mixed feelings. The noisiness became abrasive; the stage was too small; the chorus was too small; many lyrics were lost when more than one person was singing; the almost-constant dancing lacked creativity and polish; the cast was uneven; the score was uneven; Golden's big second act number was bland; the show was too long; and, although I hate to say this, Golden seemed harried by the frenetic pace and wasn't as good as she usually is. Oh, and the seats at the theatre offer neither comfort nor decent sight lines.
The strengths: some great jokes; some nice songs; Alan H. Green as Annie's reluctant partner; Brad Oscar as Mac Roundtree; Emily Borromeo as the martial arts master who recruits Annie; Annie Golden's singing and presence; the generally good-hearted, enthusiastic vibe.
To mix metaphors, Broadway Bounty Hunter is a mixed bag, but it may be your cup of tea.
(8th row, press ticket)
Broadway Bounty Hunter video.