BROADWAY SNAP-SHOT
by Russell Bouthiller

Dateline: 3 April, 2003

URBAN COWBOY

Blowing in from the wind-swept plains of West Texas is Broadway's latest screen-to-stage adaptation, URBAN COWBOY: THE MUSICAL. Based on the 1980 film starring John Travolta and Debra Winger, this theatrical reinvention presents a pair of fresh faces in the leading roles sashaying down the aisle to a score offering something old, something new; something borrowed, something blue.

Inspired by his Esquire magazine article, Aaron Latham co-wrote the screenplay with director James Bridges, URBAN COWBOY follows the on-again-off-again romance between Bud and Sissy. Theirs is the story of two Texans looking for love in the big city at Gilley's, a Houston honky-tonk made famous by its mechanical bull. Latham also co-wrote this stage adaptation with Phillip Oesterman, who was slated to direct.

URBAN COWBOY: THE MUSICAL started showing signs of blight long before the curtain went up at the Broadhurst Theatre. Last summer, Oesterman suffered a heart attack and died suddenly. Lonny Price, who brought us A CLASS ACT two seasons back, filled this unfortunate and unforeseen vacancy. A weak out-of-town reception did not augur well for the production and the recent musicians strike during previews cobbled it even further. On opening night, critics gave URBAN COWBOY the boot.

Howard Kissel of the New York Daily News wrote, "the whole thing is as mechanical as the bull." Ben Brantley of the New York Times saw the show as "...a conclusive demonstration that it's possible to be vulgar and bland at the same time." Variety's Charles Isherwood predicted "(i)t's gonna be last call at this hoedown pretty darn quick." And, Clive Barnes of the New York Post opined, "This ain't the greatest show Broadway has ever seen."

URBAN COWBOY certainly does not plumb the depths of originality in so far as plot goes. Boy meets girl. Boy loses girl. Boy gets another girl while girl #1 gets a boy #2, so she can get even with the one that got away. Throw in the subplot of an uncle with a cough and, sure 'nough, there's a funeral just about half way through the second act, the perfect opportunity for Bud and Sissy to realize they were meant for each other.

Following the empty lives of singles barflies may well have proved a compelling country musical, one with bales of spunk and twang integrating a "Despair Rides Again" theme. Bluntly contrived from start to finish, URBAN COWBOY has as much depth as an episode of Hee-Haw. Beneath the external layers of cowhide and extra tight denim, courtesy of costume designer Ellis Tillman, there is a studied application of body make-up, highlighting already taut and toned physiques.

URBAN COWBOY: THE MUSICAL features well-known songs from the original motion picture--most notably "Lookin' For Love"--as well as tunes from such notable talents as Shania Twain and Clint Black. Original music is provided by a number of artists including the show's musical director Jason Robert Brown (Tony-winner for PARADE) who also serves as conductor of the onstage roadhouse band. Brown's "That How Texas Was Born" is particularly catchy, as is Jerry Chestnut's "T-R-O-U-B-L-E." But, a score made up of various artists' works sounds more like a radio broadcast than a Broadway show.

Taking the reigns of leading man, Bud, is the chiseled newcomer Matt Cavenaugh, a beau ideal who would make a terrific Tom of Finland model. Thrusting a square jaw and a silken voice, Cavenaugh pouts and swaggers with an "aw-shucks" infectious appeal. Jenn Colella as Sissy--also making her Broadway debut--ably carries a western tune, but she is saddled with such a hopelessly moronic character, one is tempted to shout "Get out of town by sunset!"

Veteran Leo Burmester does yeoman's work as the tough-but-tender Uncle Bob. Sally Mayes has the thankless task of playing Aunt Corene, a character whose motivation seems to change with the scenery. Jodi Stevens offers up a convincing ice-blonde mantrap in Pam. Marcus Chait provides a boilerplate bad-guy as Wes. And, Rozz Morehead stands out as Gilley's proprietor, Jesse.

Set and projection designs by James Noone capture the drab cheapness of trailer-park living. Lighting designs by Natasha Katz cast smoky barroom tableaus. Choreography by Melinda Roy convincingly represents an inebriated environment, but Price's direction adds little value to an empty book. URBAN COWBOY, a bum steer.