The spectacular opening of Disney's Tarzan takes us to another dimension: at sea, under sea, changing our perspective. Director/designer Bob Crowley, one of my very favorite designers in the world, outdoes himself with these visuals. After an uninspired song, we again get great physical action as the young Tarzan (a wonderful Alex Rutherford) is revealed. There is a shadow show, a terrific ape dance choreographed by Meryl Tankard, Cirque-style aerial gymnastics designed by Pichon Baldinu, a great cast including the amazing Josh Strickland (super acrobatic with a grand singing voice) as Tarzan, Shuler Hensley and Merle Dandridge as the ape parents, Chester Gregory II as the comic relief, and a perky Jenn Gambatese as Jane (I thought she was Mary Poppins (from Disney's next musical) when she entered).
However Phil Collins' songs, although often cute or clever, are ordinary and hold up the show as we wait for more visuals and action. Here's a chance to take us on an aural trip to places where no songwriter has gone before. I wanted to hear apes sing in "Ape." I wanted something as adventurous in sound as the opening was for my eyes. And, except for a Cirque butterfly and sea nymph, Crowley seems to have forgotten the set for much of the show. It's green stringlies hanging around the whole stage, and it gets boring.
Does Tarzan entertain? Sure. In many areas, especially the performances, it's worth seeing. Does the audience enjoy it? Sure.Will it have a long run? Probably. But it could have been much more. I think Crowley needs to do one or the other -- not both design and direct. And Disney have to take more chances. This show doesn't come near their other Broadway offerings: The Lion King, Beauty and the Beast or Aida in scope, imagination or writing (book by David Henry Hwang). Tarzan will probably do well in Las Vegas in a shortened version.
