| Big Fish | |
| Music: | Andrew Lippa |
| Lyrics: | Andrew Lippa |
| Productions: | 2013 Chicago tryout 2013 Broadway 2017 West End |
Big Fish is a musical with music and lyrics by Andrew Lippa and book by John August. It is based on Daniel Wallace's 1998 novel, , and the 2003 film Big Fish written by John August and directed by Tim Burton.
Big Fish revolves around the relationship between Edward Bloom, a travelling salesman, and his adult son Will. The story shifts between two timelines. In the present-day real world, sixty-year-old Edward Bloom faces his mortality while his son, Will, prepares to become a father himself. In the storybook past, Edward ages from a teenager, encountering a Witch, a Giant, a Mermaid, and the love of his life, Sandra. The stories meet as Will discovers the secret his father never revealed.[1]
The story returns to the present day, where Edward suspects that Will's fiancée, Josephine, is pregnant. He reveals this at the wedding, angering Will and as Josephine takes the shocked crowd to catch the bouquet, Will and Edward argue. After the reception, Edward's doctor notices that Edward seems to be in pain and suggests that he come in for an examination. Edward and Sandra discover that the cancer Edward has been fighting has spread beyond where they had thought. Will and Josephine discover that their child is a boy ("Take Another Look"). Later that day, Will promises to strengthen his relationship with his father, who he sees as a "Stranger".
Sandra tells Will that although he and Edward can be a handful, she loves them both ("Two Men in My Life"). Edward tells her another story about how he was the hero of his small town, Ashton, and was the boyfriend of the head cheerleader, Jenny Hill ("Ashton's Favorite Son").
The town of Ashton, Alabama, is scared by a giant living in a nearby cave, so Edward volunteers to go talk to him. He introduces himself to the giant, named Karl, and convinces him to join him on a journey away from Ashton ("Out There on the Road").
Back in the present, Josephine finds a deed to a house in Ashton signed by Jenny Hill and Edward. She thinks this proves that Edward must be telling the truth, but Will denies it. However, Josephine's interest sparks a conversation of Edward and Sandra's meeting. While Will believes they met in college, Josephine explains that is not what Edward told her. Will asks which version of the story she was told, and there is another flashback.
Edward has taken Karl to try out for a circus. When they get there, three girls are auditioning with their song and dance routine ("Little Lamb from Alabama"). Edward notices one of the girls, Sandra, and it is love at first sight ("Time Stops"). He convinces the ringmaster to hire Karl, and then agrees to work for the circus for free in exchange for one clue about Sandra each month ("Closer to Her"). After three years of working at the circus, Edward finds Amos in his true form: a werewolf. Upon learning Amos' big secret, Edward finally convinces him to tell him what he wants to know: Her name is Sandra Templeton, she goes to Auburn University, and she loves daffodils.
Edward finds Sandra only to discover that she is engaged to Don Price, Edward's high school rival. When Don sees Edward talking to Sandra, he beats him to the ground. Undaunted, Edward proposes to Sandra, and promises her a life full of "Daffodils".
In the present, Will prepares to confront Edward about the deed he and Josephine found ("Stranger" (Reprise)). Edward is lying in bed when Will comes in and asks about the Ashton deed, but Edward grows angry and yells at him to get out. He falls into an uneasy sleep and has a dream that he and Will have a Western-style duel and trial over the issue ("The Showdown"). He wakes up screaming, and as Sandra comforts him, it begins to rain. Edward says the roof should hold up for another ten years after he's gone, and Sandra tells him "I Don't Need a Roof".
Will goes to visit Jenny Hill in Ashton to find the truth. Jenny tells him the story of what happened when Edward returned to Ashton when Will was just a small boy. In this flashback, Edward returns to Ashton to learn that the town is going to be flooded, and he finds that the citizens and the mayor refuse to leave. Edward provides the citizens with a new town ("Start Over"). He leaves Jenny with another broken heart, never to return again ("Start Over" (Reprise)). At the end of Jenny's story, Will receives a phone call and must go visit his father in the hospital.
When Will arrives to the hospital, he discovers Edward is dying. Edward asks Will to tell him the story of how he dies. Will makes up his own story of Edward escaping the "prison cell" ("What's Next"). At the river, Sandra appears and they embrace one last time. They lead him back to his hospital bed as they disappear one by one, leaving Edward alone with Will. Edward's life has come to an end ("How It Ends"). A few years later, Will and his son return to the river as he begins to tell him stories, just as Edward did to him ("Be the Hero" (Reprise)).
Sources: PlaybillVault;[1] Internet Broadway database[18]
Cut Songs
Two bonus tracks were added on the cast recording. These songs were initially in the show, but were later cut for various reasons.[19]
| scope"col" | Character | scope"col" | Chicago tryout (2013) | scope"col" | Broadway (2013) | scope"col" | Sydney (2017) | scope"col" | London (2017) | scope"col" | Seoul (2019)[20] | scope"col" | Tokyo (2024)[21] |
|---|---|---|---|---|---|---|---|---|---|---|---|---|---|
| Edward Bloom | Norbert Leo Butz | Phillip Lowe | Kelsey Grammer (old) Jamie Muscato (young) | Nam Kyung-ju Park Ho-san Son Jun-ho | Makoto Rei | ||||||||
| Will Bloom | Bobby Steggert | Adam Rennie | Matt Seadon-Young | Lee Chang-yong Kim Sung-cheol | Shin Kiwami | ||||||||
| Sandra Bloom (Templeton) | Kate Baldwin | Katrina Retallick | Claire Burt | Gu Won-young Kim Ji-woo | Honoka Kozakura(old) Chizuru Uta(young) | ||||||||
| Young Will | Zachary Unger Anthony Pierni | Sam Wood Brendan Godwin | Fumi Marina | ||||||||||
| Josephine Bloom | Krystal Joy Brown | Alessandra Merlo | Frances McNamee | Kim Hwan-hee | Nozomi Hoshisaki | ||||||||
| Karl | Ryan Andes | Seth Drury | Dean Nolan | Lee Deun | Hayate Taiki | ||||||||
| Amos Calloway | Brad Oscar | Brenden Lovett | Forbes Masson | Kim Tae-hyun | Sario Aomi | ||||||||
| Don Price | Ben Crawford | Aaron Tsindos | Hwang I-geon | Sakiho Soubu | |||||||||
| The Witch | Katie Thompson | Ciara Renée | Brittanie Shipway | Landi Oshinowo | Ju-a | Yuuna Miyako | |||||||
| Jenny Hill | Kirsten Scott | Kirby Burgess | Na Ha-na | Natsu Shirotae(old) Rurina Ouka(young) | |||||||||
| Zacky Price | Alex Brightman | Joel Granger | George Ure | Kim Seong-su | Maki Yuuhi | ||||||||
Big Fish was orchestrated by Larry Hochman, with additional orchestrations by Bruce Coughlin, for a fourteen-piece orchestra. The instrumentation calls for two keyboards, two guitars, bass/bass guitar, drums, percussion, two woodwind players (Reed 1: piccolo, flute, alto flute, oboe, English horn, clarinet, soprano sax, alto sax, tenor sax; Reed 2: flute, clarinet, bass clarinet, tenor sax, baritone sax, bassoon), trumpet, French horn, violin, viola, and cello. This orchestration was used on Broadway, conducted by Mary-Mitchell Campbell and will be licensed with the show. Additional string players were added for the cast recording.[22]
| Year | Award | Category | Nominee | Result |
|---|---|---|---|---|
| 2014 | Drama Desk Award | Outstanding Featured Actor in a Musical | Bobby Steggert | |
| Outstanding Music | Andrew Lippa | |||
| Outstanding Orchestrations | Larry Hochman | |||
| 2015 | Jimmy Award | Best Performance by an Actor (as Edward Bloom) | Drayton Maclean Mayers | |
| 2018 | Best Performance by an Actress (as Sandra Bloom) | Reneé Rapp | ||
| 2019 | Best Performance by an Actor (as Will Bloom) | Ethan Kelso |
Out-of-town reviews for Big Fish were positive. Variety called it "a wholly satisfying show: meaningful, emotional, tasteful, theatrically imaginative and engaging," and concluded:
[B]y taking Edward's tales as the jumping-off point for the theatricality of production numbers, the show makes a case for the musical form itself as a means of privileging imagination over ordinariness. The show does have a target audience after all, and it's those who love musicals.[23]
Chris Jones of the Chicago Tribune wrote:
[I]n the best moments, you feel like you're watching something deep and powerful, sourced by a work of fine literature, propelled into awareness by a potent film and, most crucially of all, a story that makes us feel we can control, if not transcend, the story of the end of our lives.[24]
Reviews were mixed once the show moved to Broadway. Upon seeing the show again after its move to New York, Jones commented on the changes:
This final Broadway version of "Big Fish" has changed considerably, and improved in leaps and bounds, from the version audiences saw in Chicago, especially in the radically different first act. . . . With the indefatigable, deeply engaged and seemingly irreplaceable Norbert Leo Butz driving its storytelling and willing the show's crucial emotional subtext into being by sheer force of talent and will, "Big Fish" arrives on Broadway as an earnest, family-friendly, heart-warming and mostly successful new American musical[25]
Despite the quality production values, Joe Dziemianowicz of the New York Daily News felt that Susan Stroman's dances were pedestrian, writing: " 'Big Fish' is a singing version of catch-and-release. It hooks you, then loses you — all night."[26]
Ben Brantley of The New York Times wrote:
Here, though, [Director Susan Stroman] seems to be drawing almost randomly from her bottomless bag of tricks. Yes, her use of dancers to embody an enchanted forest and a campfire is delightful. And it's hard not to chuckle when those two-stepping elephants make a cameo appearance. But if the show is all about the need for personal myths, it has to let its leading mythmaker take charge.[27]
Elysa Gardner of USA Today agreed:
Somehow, though, the effect isn't as dazzling, or as moving, as you would hope -- particularly given the talented players involved in this production […] In the end, though, this Big Fish lacks the imagination or cohesion to reel you in like one of its hero's yarns.[28]
Thom Geler of Entertainment Weekly had a more positive take on those same aspects:
It's no spoiler to say that imagination wins out, particularly in director-choreographer Susan Stroman's visually lavish production, which boasts dancing circus elephants, a mermaid who pops up from the orchestra pit, and tree trunks that ingeniously morph into a coven of witches. Don Holder's lighting, William Ivey Long's costumes, and Benjamin Pearcy's projections are often wondrous to behold . . . For the most part, though, Big Fish finds theatrically inventive ways to reel audiences into its central love story. In this case, it isn't boy-meets-girl but father-hooks-son. And Edward Bloom is quite a catch.[29]
Michael Dale of BroadwayWorld.com praised its "clean humor:"
Wholesomeness gets a bad rap on Broadway these days, usually regarded as the kind of unbearably sweet and inoffensive entertainment that sophisticated theatergoers must endure while taking their conservative grandmas out for a night on the town. […] But Big Fish, the new musical that tattoos its heart on its arm, displays no fear in plopping its unabashed wholesomeness right in your lap. Its spirit is steeped in Rodgers and Hammerstein decency that propels an evening that's adventurous, romantic and, yeah, kinda hip.[30]
Butz's performance, however, has been almost universally praised. Jeremy Gerard of Bloomberg wrote:
The part is custom made for Norbert Leo Butz, who hasn't had such a meaty role since 'Dirty Rotten Scoundrels.' His ingratiating singing and dancing bespeak the rare man comfortable in his own skin, and he has that indefinable charismatic spark that defines a star.[31]
Variety reviewer Marilyn Stasio wrote: "Norbert Leo Butz is cutting loose in another one of his don't-dare-miss-this perfs in 'Big Fish,' a show that speaks to anyone pining for a studiously heart-warming musical about the efforts of a dying man to justify a lifetime of lousy parenting to his alienated son."[32]