There are many reasons to recommend a visit to The Cher Show. First and foremost is the subject matter herself. Without question, Cher is one of the top five divas of the last half century. The star power has been turned to high wattage for so long from the early music hits with Sonny Bono to multiple television series. An acting career followed culminating in an Oscar for Moonstruck. Her love affairs were tabloid fodder for years. So much material, so many iconic songs and so much unforgettable fashion to choose from. Can this one-of-a-kind survivor story triumph as a Broadway jukebox musical biography?
How do you find the right performer to pull off the feat of portraying a living and beloved icon who is still touring the world in concert? The conceit here is to have three actresses representing different stages of her life. There is Babe (Micaela Diamond) who meets Sonny, heads to the studio and improbably shoots to number one with “I Got You, Babe.” The middle years are reflected through Lady (impressive understudy Dee Roscioli) who gains independence and control of her life. But it’s Star Cher who seemingly took bigger and bigger chances and made herself legendary. Stephanie J. Block is extraordinary in this part, adding layers of emotional depth and carrying the weight of this story on her back.
All three certainly pay homage to Cher’s unique mannerisms and vocal inflections but they never veer to caricature. As first husband Sonny, Jarrod Spector received noticeable gasps of elated recognition from the audience. His performance is remarkable for capturing the essence and charm of this equally unique person. When this couple reenacts the patented banter from their television variety show, the humor, style and physicality were spot on.
Already that seems like a lot to recommend The Cher Show, especially for her legion of fans. The costumes by Bob Mackie are undeniably sensational. They evoke fun (and funny) styles through the various decades, peaking with a parade of famous looks you may remember. I liked the set design by Christine Jones and Brett J. Banakis and the lighting design by Kevin Adams. The Sonny & Cher Comedy Hour visuals were ideal replicas. The moving arcs and lighting effects gave Vegas glitz when necessary. Frequently, the Chers are alone or in small groups so the set design also helps the show seem full enough for a Broadway stage.
When the musical numbers are big, the ensemble delivers outstanding support here. The myriad of costumes showcase the fittest chorus in New York. The men are muscular and the women have legs for days. With Bob Mackie dressing them, they all look spectacular. Ashley Blair Fitzgerald is Dark Lady during a dance in Act II. Choreographed by Christopher Gattelli, this number is a jaw-dropping highlight of precision, movement and lifts. Ms. Fitzgerald’s exceptional number, accompanied by her strong male partners, nearly stops the show.
That moment is quite welcome because Act II takes some storytelling turns that slow momentum down considerably. The uneven book by Rick Elice is often funny and therapeutically heartfelt. Exposition, however, gets in the way as we traverse through this long career. The throwaway Lucille Ball scene and the overlong Gregg Allman section (memorably played by Matthew Hydzik) hurt the pacing considerably.
What works exceptionally well in the book, however, was the three Cher personalities woven throughout. Each comments on and supports the other through the highs and lows of a life lived in the spotlight. What nicely emerges is a memoir more than a biography. Admittedly like her life, The Cher Show is imperfect yet endlessly entertaining when it hits a bullseye.
The woman is a survivor. Someone once said, “The only thing that will be left after a nuclear holocaust is Cher and cockroaches.” The comment was brought up to her in an interview. She smiled and brilliantly replied that the quote seemed to sum it all up, didn’t it? At the start of this musical, Star Cher pulls us into her orbit with “let’s do this, bitches.” How can you resist?
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