Bastard Jones NYC Reviews and Tickets
Show-Score Member Reviews (61)
See it if Boisterous musical adapt of Fielding's epic novel Small ensemble play multiple parts causing confusion Ruggiero's exuberant Tom carries show
Don't see it if Far too many songs drag show's momentum & cause fatigue Sightlines often hindered by tight stage but directed w/ vigor by lyricist Acito
See it if You like social relevance in the style of Peter And The Starcatcher. Also, 50 seats in Chelsea in a classy environment!
Don't see it if You don't like a few actors playing many parts.
See it if you want to feel like your friends are putting on a silly show in their living room; an admirable effort at acting, directing and composing.
Don't see it if you want a fully developed show in a traditional setting, you are in the mood for serious theater.
See it if You want a fun and silly show
Don't see it if You prefer a more sophisticated or serious show
See it if A spirited, fun, well-intentioned if obvious musical farce appeals, its fully committed cast largely fine with amazing vocal ranges.
Don't see it if You're disturbed by farce, a mostly unmemorable score or watching the lead actor literally screw on his actual prosthetic peg leg. Read more
See it if Energetic, silly, vulgar. Likable cast & musicians, captured the story, cleverly staged, likable score. Lots of talent.
Don't see it if Runs out of steam, exhausting over-the-top-campy performances, endless dirty jokes, songs go on forever. Lose an hour.
See it if you want madcap, raucous fun and bawdy humor - with clever staging. Impressive disability-inclusive casting and witty writing.
Don't see it if you're not prepared for a high energy (and, at times, exhausting) romp. A bit long, but enjoyably (if sometimes frenetically) funny.
See it if You want to see a truly amazing performance by a young man named Evan Ruggiero, who lost a leg to cancer. He is a real inspiration.
Don't see it if More contemporary musicals are your thing. This is a take off on Tom Jones. If you're not a fan of the story, you may not enjoy this. Read more
Critic Reviews (16)
"There are numerous reasons to see 'Bastard Jones,' but topping the list is to purely enjoy an evening of raucous fun...Acito has deftly directed his motley cast with a distinct madcap style, never losing sight of the underlying affirmative message of human rights...The entire cast each stands on their own and embraces the word ensemble...Do not miss this limited engagement, which certainly deserves a continued life in the vibrant New York theater scene."
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"The Cell feels like an R-rated living room...The townhouse can seat a few dozen, and the action jumps between floors, plenty of phallic references, and innovative staging by Acito...In the title role, Ruggiero is a charmer, with a wide-eyed disposition and piercing voice...'Bastard Jones' could use some trimming in its running time, and some minor tightening of its bits, but these are minor considerations."
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“Musical comedy is actually far too tame a way to describe what goes way beyond even musical farce in its rowdy, hellzapoppin approach, throwing realism to the winds and—although there's no nudity per se—letting it all hang out…A carefully calibrated cacophony of door slamming, head banging, and otherwise free-swinging mayhem, supplemented by…vibrantly energetic choreography…The show's biggest drawback is its sophomoric humor.”
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"A vibrant 21st-century creation, utilizing rock, ballads, and the occasional reverb...Ruggiero displays indomitable athleticism...The cast works tirelessly to keep the story going, and the inn at Upton approximates the door-slamming farce in the film...Overall, though, high comedy has lost to low on several fronts...What 'Bastard Jones' needs is the class-conscious, tongue-in-cheekiness of 'A Gentlemen’s Guide to Love and Murder.' Too often what was playfully bawdy is now merely vulgar."
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“I was blown away by this amazing cast, witty script, good songs and one of the most fun evenings I have had in the theater in a long time. It is the story of Tom Jones - a bastard raised in the home of a country squire. Written as a response to the hypocritical puritans of King George the III's time, it can be considered quite bawdy or extremely raunchy, depending on your puritanical moral compass. Staged in a tiny theater, with minimal props, it is an unexpected surprise (if a bit long).”
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"This rock musical comedy started out with a bang and ended with an earth shaking finale. The play told the oft-comedic tale of Tom Jones, a 1749 story of a bastard ward to an English squire named Allworthy. Marc Acito, the writer of Allegiance, did a superb job of weaving amusing action between entertaining songs setting the stage for gripping reveals. He and lyricist Amy Engelhardt were aided by an energetic cast with strong vocal talent that provided us ample opportunity to bask in awe."
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“Acito does a great job of bringing every cast member’s uniqueness forward. Wang delivers a flawless vocal performance as the childhood friend that has captured Tom’s heart…Engelhardt’s music is tastefully varied, making bold choices even in comedic numbers. The lyrics seem to inject adrenaline into the satire of yesteryear, adding a little modern obscenity to keep things fresh...This adaptation highlights the joy of sexuality, and leads by example with a talented, diverse cast."
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"All the same, there is much fun to be had. Most of the comedy, for me at least, came in the form of the puns, quips, and one-liners delivered primarily by Partridge, but also many of the other characters. (As an example, one particularly groan-worthy joke, uttered in a ball scene, I must echo here: ‘What are you doing here?’ ‘The minuet!’) There was also a good deal of slapstick, but never to the point that it felt overdone."
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