It’s ... episodic and rambling, with ... [a] meandering, indulgent feel. Hill is a fine comedian, but he’s nowhere near a good enough dramatist to pull this off.
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Tony! begins promisingly, moves into a disappointing phase and then outstays its welcome. Tonally, it’s semi-successful ... but it couldn’t hurt for the creative team, including director Peter Rowe, to have a confab back at the drawing board.
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It features one absolute belter of a song, and a ton of bad-taste gags. [It's] the sort of thing you’d expect from a precocious student drama group. [Harry] Hill gifts the production his trademark air of precarious hilarity, and some dreadful jokes.
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The songs ... are not in themselves memorable and their targets are horribly obvious. Director Peter Rowe keeps the whole thing moving fast enough. I suppose it's all good fun, but by the end I felt irritated by the show's sheer lack of sophistication.
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It plays out as an unrelenting stream of obvious jokes and headline history. Tonally it doesn’t know whether to wink at us or whack us around the face, so it does both. The gulf between idea and execution is vast, and hardly worth the labour.
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[Harry] Hill’s manic humour sweeps you along. Brown’s score covers a lot [of] ground ... from sultry Cole Porter to the astringent harmonies of Stephen Sondheim. The lyrics are jaunty and inventive. There’s a knowing tastelessness to the farce.
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Baker just about holds together a production with the jamboree-bag messiness of a student revue or a children’s party. The second act brings a double-whammy of numbers ... Too often, though, the delivery props up lyrics that lack a certain comic gleam and precision.
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