St. James Theatre, 246 W. 44th St.
Unless you act soon—and by soon, I mean within the next 2 weeks, Side Show will be the best show you’ve never seen. And that’s just sad. I had the privilege of seeing this excellent production several days ago, and its poignant spell is still with me.
Lead Cast: Erin Davie (Violet Hilton), Emily Padgett (Daisy Hilton), David St. Louis (Jake), Ryan Silverman (Terry Connor), Matthew Hydzik (Buddy Foster), Robert Joy (Sir)
Director: Bill Condon
Music: Henry Krieger
Book and Lyrics: Bill Russell
Additional Book Material: Bill Condon
Background: The current Broadway production of Side Show is a revamped version of the original, which opened 17 years ago, on October 16, 1997. The show is based on a true story of conjoined twins Daisy and Violet Hilton, who rose from exploitation as freaks in a seamy side show to become Vaudeville stars. Although the original show received many positive reviews (New York Times critic Ben Brantley called it a “daring, enthralling production”), it closed on January 3, 1998, after only 31 previews and 91 regular performances. Sadly, history will repeat itself when the new Side Show closes on January 4, 2015, just 7 weeks after opening night.
I didn’t see the 1997 Broadway production, but I’m told by people who did that the new version adds several new songs and cuts others, and that the book has been reworked to include more exposition about the Hilton twins’ childhood in England.
I found this show absolutely riveting from beginning to end. The opening number “Come Look at the Freaks,” sets the mood: the sets (by David Rockwell) are spare, often only suggesting the actual physical surroundings. The lighting (Jules Fisher & Peggy Eisenhauer) effortlessly guides your eye to focus on what’s important in any given scene. There are some special effects—as when a costume change appears to happen by magic—that are amazing.
But it is the performances take your breath away. Erin Davie and Emily Padgett, actresses who offstage don’t really look alike, convince us that they are physically identical—literally joined at the hip. In addition to the physical transformation, they also convey the twins’ very different personalities. Daisy (Ms. Padgett) is brash and flirtatious and dreams of stardom. Violet is more reserved. Their contrasting personas are illustrated in the song “Like Everyone Else:”
Violet sings, “I want to be like everybody else; to walk down the street not attracting attention.” Daisy yearns for fame: “I want to be like everyone else, but richer and more acclaimed. Worshiped and celebrated.” The stunning costume designs (by Paul Tazewell) underscore the idea of sameness vs. difference: Daisy and Violet dress alike, but in dresses that are mirror images of each other.
Because a “normal” life is impossible for the sisters, who have always been made to feel they are “freaks of nature,” only Daisy will get her wish. Once rescued from the exploitation of the side show by the handsome, smooth-talking Terry O’Connor, the girls achieve fame and fortune as Vaudeville stars. (Of course they are still being exploited, but with a higher standard of living).
I want to give a shout out to David St. Louis, who as Jake, the girls’ protector and champion (and who suffers unrequited love for Violet), is simply stunning in every scene he plays and every song he sings. I’m hoping that he’ll be recognized, along with Davie and Padgett, with a Tony nomination
Side Show is ultimately a love story. Despite an often cruel and exploitive world, Daisy and Violet know that they will always have each other. While they do consider separation surgery, they are told that it is risky—that one or both might not survive. They realize that it is their connectedness that truly defines them and makes them special; that in a world where they are viewed as freaks, they are never alone. They are bound together in body and soul, by love.
Two emotional duets underscore the touching and profound love between Daisy and Violet: the first act closer, “Who Will Love Me as I Am?” and the last song in Act 2 (before a reprise of “Come Look at the Freaks”), “I Will Never Leave You.” If these plaintive songs don’t bring a tear to your eye, you have no heart.
From “Who Will Love Me as I Am?”:
Who will ever call to say I love you? Send me flowers or a telegram?
Who could proudly stand beside me? Who will love me as I am?
From “I Will Never Leave You”:
I will never leave you; I will never go away
We were meant to share each moment; Beside you is where I will stay
Evermore and always; We’ll be one though we’re two
For I will never leave you
Why the Side Show Must End
Why can’t this thrilling and touching show make it on Broadway? Part of the problem stems from the subject matter. When people hear the words “Siamese twins” and “freaks” they may mistakenly assume the show is somehow distasteful or upsetting. Other reasons are more mundane, having to do with the “business” part of show business. While the orchestra section was full for the matinee I attended, theatre staff they told me that ticket sales for the mezzanine were generally poor. When St. James Theatre owner Jujamcyn saw an opportunity to book a potential blockbuster new musical, Something Rotten (directed by Book of Mormon’s Casey Nicholaw), it turned its back on Side Show. As Side Show producer Darren Bagert told The New York Times: “We were persuaded to post a notice prematurely, in the middle of a holiday season ticket upswing. If there weren’t another show clawing at the door, I think we’d still be at the theater.”
When I spoke to several cast members after the performance, they were understandably disappointed that this high-quality, audience-pleasing production was ending too soon. Like Daisy and Violet, both the 1997 and 2014 productions of Side Show beseech us: “Who will love me as I am?”
So, in the words of Side Show’s opening number, “Come Look at the Freaks”:
Ladies and gentlemen, step right up! Right this way!
See the freaks! They are here! They are real!
They are all alive! Inside!
(But only until January 4).
Trivia: January 4, the date the current Broadway production will close, is the same date the Hilton sisters died (in 1969, at age 60).
I urge you to see this amazing show before it’s too late. While the show’s website doesn’t specify any age recommendation, due to the mature subject matter, I would say leave the kids under 15 at home.
With Erin Davie.