Springsteen bosses it on Broadway
Springsteen on Broadway
Walter Kerr Theater, New York
He is known for barnstorming stadium gigs backed by his large ensemble band, powering through hit after hit about the plight of America’s working class, love, hope and political protest. In Bruce Springsteen’s debut Broadway show, however, in the tiny Walter Kerr Theater (capacity: 975), he rips up that formula entirely.
Everything is stripped away: it’s just Springsteen, a microphone, guitar, piano and mouth organ. The master storyteller delivers a meticulous, astonishing performance featuring monologues and poetry about his childhood, his father’s battle with drink and depression, his mother’s dignity, the impact of the Vietnam War, America’s racial divisions and fresh, innovative interpretations of some of his best-loved songs.
The space is so small – and Springsteen’s personality so absorbing – that at times it feels like a private, “living room” concert. Most people seem to be able to find empathy in Springsteen’s everyman appeal, and that personal connection is magnified in this show, which broadly follows his 2016 autobiography, Born to Run.
He came up with the idea after being asked by Barack Obama to put on an acoustic concert at the White House as the outgoing president’s farewell gift to staff. This Broadway version, which has already shattered box office records – netting more than $2.3million for its first five shows – features a set-list of 15 indelible songs. At least half the show is Springsteen talking, and, while some of the interludes are more effective than others, the format works a treat.
Springsteen’s voice is toned down from his usual performances – there’s no need to strain in this small venue. Rather, the songs are often smartly reimagined and guitar solos more sedate, notably Born in the USA. Framed by the moody set, Springsteen continues to defy his age, and looks effortlessly cool.
He jokes that he has crafted a wildly successful career by writing songs about working-class oppression yet has never done an honest day’s work in his life. He also explores the love/ hate relationship we have with our home towns, noting that while several of his hits are about breaking free and running to a better place, he now lives 10 minutes from where he grew up.
At two hours long, the show is far shorter than his freewheeling stadium gigs. He sticks to his script and even uses a teleprompter, but even so, it doesn’t come across as rehearsed. The 68-year-old directs himself, but called on Broadway stalwarts for the excellent, minimalist set design, lighting and sound set-up.
Another major difference between this show and the stadium Springsteen is the absolute silence. At one point, the audience started clapping in time to Dancing in the Dark – he broke off and admonished: “I got this.” He performs the last part of Long Walk Home with no microphone or guitar amplification, prompting a standing ovation. Springsteen’s wife, Patti Scialfa, joins him for Tougher Than the Rest and Brilliant Disguise, offering welcome support for what is sure to be an exacting 79-performance run.
In his final monologue, he explains how his life’s mission was to tell the story of America through his music. “I hope I’ve been a good travelling companion,” he says. Here’s hoping the journey is far from over.
Until Feb 3 2018. Tickets: 001 877 250 2929; brucespringsteen.net/broadway/