In a startling pivot from the glittering Great White Way to the atmospheric depths of THE BLACK X theatre in Franklin, MA, Franklin Performing Arts Company (FPAC) is set to swing into the 2023-24 season with a reimagined production of “Tarzan” – a bold move that might significantly shake up the upcoming Tony Awards.
The spotlight-stealing announcement features Josh Strickland reprising his Broadway role as “Tarzan”, tiptoeing across the promising era of immersive theatre – a transformative trend that FPAC seems to be betting on. Their reconfigured production, aiming higher than the jungle’s canopies, is an intriguing development in the current theatre industry landscape. It potentially revitalizes interest in Broadway revivals and sets a fertile ground for other companies to explore.
Strickland’s casting is likely a strategic move to leverage the actor’s Broadway credibility and infuse it into the reworked version of the musical. Harnessing Strickland’s recognition could pay off in the awards season, especially when considering the Tony Awards, where star power still holds sway. His performance in the original production was highly acclaimed, and his reprisal coupled with an innovative production just might enable him not only to recreate the magic but also redefine it.
Yet this undertaking is not without risks. Immersive theatre is unpredictable, blurring boundaries between actors and audience, tarantula thickets, and theatre stalls. While it is carving out its niche in the industry, its alignment with Broadway productions and mainstream awards is yet to be determined. Will this experiment result in critical acclaim or be seen as a theatrical misstep?
The Tony Awards, known for their traditional leaning, might find FPAC’s daring take on this Broadway musical either a refreshing innovation or step too far from the glamour of classic Broadway productions. The implications run deeper than just Broadway; this production has the potential to stir the waters of award criteria, stretching the traditional framework not simply to include but to champion experiential, immersive theatre.
‘Tarzan’ in the tangle of immersive theatre can also prompt serious reconsideration about the kind of experiences and performances the Tony Awards – and, indeed, all theatre awards – should recognize and reward. The Broadway musical transformation paves the way for other theatres to reimagine, recreate, and reinvent, setting the scene for a possible industry-wide shift.
In conclusion, this immersive, creative reinterpretation that FPAC is embarking on is a watershed moment that signals a potential dawn for theatre – a moment of reckoning that questions whether awards ceremonies are willing to adapt and appreciate the morphing face of theatre. The ‘Tarzan’ revival is not merely a presentation of a classic Broadway musical but represents a broader industry evolution that could redefine the landscape of prestigious theatre awards and their recipients. The tree vines sway on March 8 at THE BLACK X. The theatre world will indeed be watching.
Where ‘Tarzan’ will land, only time – and possibly the Tony’s – will tell.
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