Musical (2007)

Musique: Jason Robert Brown
Paroles: Jason Robert Brown
Livret: Dan Elish • Robert Horn
Production à la création:

Twelve-year old New Yorker Evan Goldman is surrounded by rabbis. After chanting to him, one of them explains that when a boy has his Bar Mitzvah, he becomes an adult. As the rabbis reveal that they are actually other New York kids, Evan tells the audience about how stressful turning thirteen is – especially since his parents are getting divorced and he is under pressure to have the best Bar Mitzvah imaginable Thirteen/Becoming A Man). Just as Evan thinks that maybe things will be fine, his mother calls to tell him that they are moving to Indiana. Once there, however, Evan finds a friend in his neighbor, Patrice. Evan is very disappointed that there are no cool places to have his Bar Mitzvah; Patrice agrees that their town is lame, but things have gotten better since Evan moved there The Lamest Place in the World.
When school starts, Brett, the most popular kid in school, summons up the courage to ask Kendra, the prettiest girl in school, to a scary movie Friday night so that he can kiss her with tongue Hey Kendra. Despite her best friend Lucy's attempts to dissuade her, Kendra consents. Inviting Kendra to a scary movie was Evan's idea, so Brett decides that Evan is cool and refers to him as the "Brain." Evan is thrilled; this means that Brett will come to his Bar Mitzvah, and if Brett comes, everyone else will come. Patrice, however, is displeased. If she goes to the Bar Mitzvah, nobody else will go because all of the others hate her. Evan does not think that it will be that bad, but when he hands out the invitations, he sees that Patrice is right, so he rips up her invitation. As the other kids express their excitement over Evan's party, Archie enters and introduces himself. He is upset at Evan for humiliating Patrice – his best and only friend – but promises to help to make it up to her if Evan gets him a date with Kendra. When Archie’s attempts to use his degenerative illness to guilt Evan into getting him the date do not work, Archie tries to convince him that he can turn to no one else Get Me What I Need. Evan finally relents. Later, at cheerleader practice, Kendra teaches a new cheer while Lucy resolves to make Brett her boyfriend Opportunity. Archie tries to talk Patrice into giving Evan a second chance, especially since she has a crush on him, but she has lost faith in him What It Means To Be A Friend.
In class, Brett tells Evan to get his mother to buy them all tickets to "The Bloodmaster." Evan protests that his mother will not buy them tickets to an R-rated movie, but Brett points out that if she does not, nobody will go to his Bar Mitzvah. Evan cycles through possible plans, eventually settling on having Archie use his illness to guilt his mother All Hail the Brain/Terminal Illness. To make things better with Patrice, Evan asks her to go to the movie with him as a date. He then realizes that he set up Archie’s date with Kendra when everyone is seeing "The Bloodmaster," which is Kendra's date with Brett. Evan makes Archie promise to do nothing more than sit next to Kendra so as not to screw up Brett's date. Archie agrees, and everyone prepares for Friday night Getting Ready.
At the movie, Patrice is upset that Evan is not even sitting next to her. Brett and Kendra overthink their impeding kiss, and just as they are about actually to do so, Archie ruins it Any Minute. Brett swears revenge on Evan and Archie, and Lucy, seeing her chance, kisses Brett. Patrice tells off Evan when she sees that all that he cares about is Brett’s being angry at him Good Enough. Even Archie is upset with Evan, who then realizes that he is in danger of being a lonely geek Being a Geek. As Lucy and Brett begin dating, she forces him to spend increasingly more time with her. Brett's friends recognize that Lucy is good neither for Brett nor for them at all Bad Bad News. Evan promises to help to get Brett and Kendra back together so that he can get back on everyone’s good side. Archie, fearing that this is a suicide mission, begs Patrice to help Evan. She shows up just in time to tell Brett to talk to Kendra, and she and Evan suggest things to say – while resolving their own issues Tell Her. Charlotte, a member of the cheerleading squad, comes in and tells Brett to quickly come to the girls bathroom. He finds Kendra and Lucy fighting in the bathroom while Charlotte stands by and watches. As Kendra is about to walk out, Brett tells Lucy that he wants Kendra. He tells her that she is the one he wants to be with and that he likes her and they get back together. Lucy, however, will not stand for this. She spreads a rumor that Kendra is cheating on Brett with Evan, and then gets Evan and Kendra in the same place so that Brett can catch them It Can't Be True. Her plan works. As Kendra runs after Brett, Evan realizes that he did not really want to be friends with Brett anyway, and that Archie and Patrice are his real friends. He wants to call off the Bar Mitzvah because it would only be the three of them, but Archie and Patrice point out it that will not be that bad If That's What It Is, when Evan kisses Patrice out of nowhere, and learns that making wrong choices is all a part of growing up. Evan has his Bar Mitzvah after all; he is starting to understand what growing up means A Little More Homework. The show ends with the cast singing Brand New You.

“13”/“Becoming a Man” – Evan and Company
“The Lamest Place in the World” – Patrice
“Hey Kendra” – Brett, Malcolm, Eddie, Lucy and Kendra
“Get Me What I Need” – Archie and Company
“What It Means to Be a Friend” – Patrice
“All Hail the Brain”/“Terminal Illness” – Evan, Archie, Brett and Company
“Getting Ready” – Company
“Any Minute” – Brett, Kendra, Patrice and Archie
“Good Enough” – Patrice
“Bad Bad News” – Eddie, Malcolm, Simon and Richie
“Tell Her” – Evan and Patrice
“It Can’t Be True” – Lucy, Charlotte, Molly and Company
“If That’s What It Is” – Archie, Patrice and Evan
“A Little More Homework” – Evan, Charlotte and Company
“Brand New You” – Charlotte, Cassie, Molly and Company

Aucun dossier informatif complémentaire concernant 13

Aucun dossier informatif complémentaire concernant 13

Version 1

13 (2007-01-Mark Taper Forum-Los Angeles)

Type de série: Pre-Broasway Try Out
Théâtre: Mark Taper Forum (Los Angeles - Etats-Unis)
Durée : 1 mois 1 semaine
Nombre :
Première Preview : 22 December 2006
Première: 07 January 2007
Dernière: 18 February 2007
Mise en scène : Todd Graff
Chorégraphie : Michele Lynch
Producteur :
Star(s) :

Version 2

13 (2008-05-Norma Terris Theatre-Chester-Connecticut)

Type de série: Pre-Broasway Try Out
Théâtre: Norma Terris Theatre in Chester (Chester - Etats-Unis)
Durée : 1 mois
Nombre :
Première Preview : Inconnu
Première: 09 May 2008
Dernière: 08 June 2008
Mise en scène : Jeremy Sams
Chorégraphie : Christopher Gattelli
Producteur :
Star(s) :

Version 3

13 (2008-10-Bernard B. Jacobs Theatre-Broadway)

Type de série: Original Broadway
Théâtre: Bernard B. Jacobs Theatre (Broadway - Etats-Unis)
Durée : 3 mois
Nombre : 22 previews - 105 représentations
Première Preview : 16 September 2008
Première: 05 October 2008
Dernière: 04 January 2009
Mise en scène : Jeremy Sams
Chorégraphie : Christopher Gattelli
Producteur :
Star(s) :
Presse : "I can’t imagine that anyone who isn’t in early adolescence would be crazy about “13,” the shiny and brash new musical about growing up geeky." (Ben Brantley-New York Times)
"Thirteen is notorious for being a jinxed number, and anyone heading to "13" hoping to find a story they haven't seen at least a hundred times before is out of luck." & "The pubescent crowd may find this new musical fascinating — but Mom and Dad will be left thinking about 13 better ways they could have spent their ticket dollars." (Joe Dziemianowicz-New York Daily News)
"Disarmingly charming new musical." & "The perfect show for those too old for Disney, too young for "Spring Awakening." (Barbara Hoffman-New York Post)
"Driven fast by catchy, dynamic rhythms and colorful orchestrations, Brown's 16-song score is light, fresh and always tuneful in nature. Smart lyrics and a wide sampling of song styles ... keep the musical energy level zooming as the intermission-free show speeds along." & "Expect nothing fancy from "13" -- just a sincerely good time." (Michael Sommers-Star-Ledger)
" ailing as our economy.." & "Some of the 13 performers are actually 13; other may be old enough to know better. But 13 or not, they come across almost as juvenile as the perpetrators of this infantile concoction." (John Simon-Bloomberg)
"13 is, if hardly awesome (not even in the lesser sense of the word), an innocuous and sometimes touching diversion." (Elysa Gardner-USA Today)
"A smart, fun look at the joys and agonies of growing up." & "Sweet little gem of a show." & "Director Jeremy Sams and choreographer Christopher Gattelli have assembled an energetic and versatile ensemble of youngsters and shown them off to sparkling advantage. .....and they're not syrupy sweet or overly brash in the way too many professional child actors can be." (David Sheward-Back Stage)
"The story, directed without distinction by Jeremy Sams, sort of stops rather than builds to a conclusion....The book, by Dan Elish and Robert Horn, is so chopped-up, careless and obvious it almost seems no more than a bridge between Jason Robert Brown's songs." & "They (the cast) come across not as typical youngsters, but as professional performers who happen to be teenagers. (Robert Feldberg-The Record)
"Musically robust but surprisingly thin in the story department" & "If the story meanders, the music does not...a lively, highly listenable score." & "It's in the music where "13" often springs to life. His (Brown's) melodies are tuneful and his lyrics quirky enough to surprise you." (Michael Kuchwara-Associated Press)
"There's not much in this sweet all-adolescent tuner to engage anyone past puberty." & "If the story had been told with more wit, complexity or universal insight, there might have been something here for the rest of us." & "Brown's melodic songs are well crafted and do the job of bumping the thin story along ... But the composer's work tends to bounce around in tone and rhythm, making it difficult to sing for performers whose voices are still developing." (David Rooney-Variety)

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