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He calls it a "bio concert" and thinks it could be the wave of the future. Van Zandt, who shares directing duties with visual designer Marc Brickman, says the show marks a new phenomenon for Broadway: not a musical like "Jersey Boys" and also not a concert by, say, Frankie Valli. The band was known to fight discrimination by demanding that a black act appear on the bill at each of their concerts. The show has some 30 Rascals songs but also finds time to explore their influence on more than music. They're up there with the Beatles, and Stones and Byrds. "The musical depth is astounding when you get into it," says Van Zandt, who runs his own record label and hosts a radio show. The quartet - singer Eddie Brigati, keyboardist Felix Cavaliere, guitarist Gene Cornish and drummer Dino Danelli - left a rich legacy of songs including "It's a Beautiful Morning," ''How Can I Be Sure," ''People Got to Be Free" and "I've Been Lonely Too Long." The reunited band will play 15 performances at the Richard Rodgers Theatre beginning next month (performances start April 15), a show combining live performance, video reenactments, archival concert and news footage, op-art backdrops and psychedelic lighting. The two New Jersey natives would meet soon after and bond over the classic American blue-eyed soul band.įorty-eight years later, Van Zandt has found a way to repay The Rascals by taking the original four-man band to their biggest and most unlikely stage - on Broadway. Running time: 82 min.Making that night even more special? A young Bruce Springsteen was also there.
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Reviewed at the Cineplex Odeon Universal City Cinema, Universal City, July 30, 1994. Screenplay, Paul Guay, Stephen Mazur, Spheeris, story by Spheeris, Robert Wolterstorff, Mike Scott, Guay, Mazur.Ĭamera (Deluxe color), Richard Bowen editor, Ross Albert music, William Ross production design, Larry Fulton art direction, Gae Buckley set decoration, Linda Spheeris costume design, Jami Burrows sound (DTS), Susumu Tokunow assistant director, Matt Earl Beesley second unit director, Beesley stunt coordinator, Shane Dixon casting, Judy Taylor, Lynda Gordon.
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Molen, Deborah Jelin Newmyer, Roger King.
#Where can i watch the original little rascals tv#
TV tykes Mary-Kate and Ashley Olsen (“Full House”) and Raven-Symone (“The Cosby Show”) also appear in blink-and-miss-them scenes.įor the most part, though, this is the kids’ show, and they acquit themselves reasonably well.Ī Universal Pictures release of a Universal and King World presentation. The filmmakers do make clever use of adult cameos, from Donald Trump as the rich kid’s father to Whoopi Goldberg as Buckwheat’s mom. While much of the fun involves hearing moppets deliver lines like “You took the best years of my life,” it’s a novelty that tends to yield grad-ually diminishing returns. The real problem involves finding a steady source of laughs, as opposed to mild grins. As with “The Flintstones,” which had the advantage of ample visual gimmickry, the quintet struggles at spreading the material over 80 minutes, turning in amusing moments but also some rather arid stretches. It’s hard to believe that input from five writers was needed to come up with that premise. Needing $ 350 to rebuild, the group embarks on various efforts to raise the money, ultimately getting its chance via a go-cart race that also includes the new object of Darla’s affection, rich kid Waldo (Blake McIver Ewing, who bears an uncanny resemblance to the Culkin clan). This irks his pal, Spanky (Travis Tedford), and inadvertently results in the destruction of their clubhouse.
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One gains a real appreciation for what the filmmakers have undertaken only during outtakes that roll over the closing credits, providing some indication of what it must have been like to work with a cast composed almost entirely of 5 -to-9-year-olds, as plaintive voices intone, “Don’t look at the camera, honey” from offscreen.Īfter the initial kick associated with seeing the characters, “Rascals” goes about the business of setting up a rather conventional plot, as love-smitten Alfalfa (Bug Hall) violates the rules of the all-male He-Man Womun-Haters Club by wooing the decidedly feminine Darla (cherubic Brittany Ashton Holmes). As with “Hillbillies,” this movie’s principal achievement may be its slavish devotion to the original and the remarkable casting done in terms of finding tots who closely resemble their rascally forebears.