Zorba is a musical with a book by Joseph Stein, lyrics by Fred Ebb, and music by John Kander. Adapted from the 1946 novel Zorba the Greek by Nikos Kazantzakis and the subsequent 1964 film of the same name, it focuses on the friendship that evolves between Zorba and Nikos, a young American who has inherited an abandoned mine on Crete, and their romantic relationships with a local widow and a French woman, respectively.
The musical premiered on Broadway in 1968 in a production directed by Harold Prince. It was nominated for the Tony Award for Best Musical in a season that included Hair, Promises, Promises and 1776. The last of these won the award. The original production ran for 305 performances, and a 1983 Broadway revival ran for 362 performances with a cast starring Anthony Quinn.
Synopsis
The story follows Zorba as he talks his way into traveling with Nikos, a young American who has inherited an abandoned mine on Crete. Eventually, Zorba falls in love with a French woman, Hortense. Meanwhile Nikos falls in love with The Widow. Tragedy ensues when Zorba loses all of his money to a belly dancer. Further, a mentally unstable man, Pavli, commits suicide after witnessing Nikos and the Widow together. Then, a member of Pavli's family murders The Widow.
Characters
Nikos, a young American bachelor, coming to Greece to take over operations of a mine he has inherited.
Alexis Zorba (Αλέξης Ζορμπάς), an eccentric and charismatic man in his late 50's who befriends Nikos on his trip. He is a fictionalized version of the mine worker George Zorbas (Γιώργης Ζορμπάς 1867–1942).[1]
The Leader, a narrator and guide to the audience and actors. The character was referred to as "the Woman" in the 1983 revival.
Madame Hortense, a promiscuous french woman in her 50's who seduces Zorba.
The Widow, a woman in her late 20's, begins a courtship with Nikos.
Pavli, a man in the town who has hopes for a relationship with The Widow.
Mavrodani, Pavli's father
Manolakas, another man from the town. Mavrodani's brother, and Pavli's uncle.
Mimiko, a young, poor man in the town who assists Nikos. The Widow takes care of him.
Father Zahoria, a priest.
Musical numbers
Act I
"Life Is" – Leader and Company
"The First Time" – Zorba
"The Top of the Hill" – Leader and Chorus
"No Boom Boom" – Madame Hortense, Zorba, Nikos and Admirals
"Vive La Difference" – Admirals and Dancers
"Mine Song" § – Company
"The Butterfly" – Nikos, Leader, The Widow and Chorus
"Goodbye, Canavaro" – Madame Hortense and Zorba
"Grandpapa" – Zorba, Leader and Chorus
"Only Love" – Madame Hortense
"The Bend of the Road" – Leader and Chorus
"Only Love" (Reprise) – Leader
Act II
"Yassou" – Nikos, Zorba, Madame Hortense, Leader and Chorus
"Woman" § – Zorba
"Why Can't I Speak" / "That's a Beginning" – The Widow and Nikos
The musical was revised to be less "austere" and toured with John Raitt, and included a new song for him ("Bouboulina") as well as the addition of "The First Time" sung by Nikos as part of "Why Can't I Speak." Chita Rivera played the role of "The Leader". Because reviews were not favorable, the show did not return to Broadway at that time.[2][3][4]
The bus and truck tour featured Vivian Blaine ("Guys and Dolls") as Madam Hortense and Michael Kermoyan ("Camelot" & "Anya") in the title role, with Prince directing and choreography by Patricia Birch.
1976 (summer) Second National Tour
The second national tour started in Philadelphia in May 1976 and traveled all over the East Coast of the US and into Montreal, Canada (two weeks at Place des Arts after the Summer Olympics). The cast featured Theodore Bikel and Taina Elg. It was considered the best touring show of the "Straw Hat Circuit" that summer.[citation needed]
Zorba has been produced professionally in Argentina (2003). Cast: Raúl Lavié, María Rosa Fugazot, Miguel Habud, Julia Zenko, Marcelo Trepat, Alejandro Viola (replaced by Gustavo Monje), Roberto Fiore, Rubén Ballester and Andrea Mango.
Director Prince visited Crete and Mykonos, and the show's original design reflected the "peculiar color and light of the Greek Islands, the stark white of the...buildings as against the funereal black of the...clothes. Memorably 'Zorba' was presented in severe chiaroscuro."[7]
Reception
According to Sheldon Patinkin, the "material was too dark" and the "book too heavy" for a Broadway musical. "It includes a serious and often unpleasant commenting chorus, the death of the central female character, a suicide...and other depressing events. It didn't return its investment."[8]
Clive Barnes in his review in The New York Times, wrote that "Prince was one of the very few creative producers on Broadway-a man who can put his own imprint on a show, and that imprint is planted all over Zorba like a sterling silver mark."[9]
^Smith, Cecil A. Musical Comedy in America: From The Black Crook to South Pacific, From The King & I to Sweeney Todd (1987), Psychology Press, ISBN0-87830-564-5, p. 287
^Hirsch, Foster. Harold Prince and The American Musical Theatre (1989), CUP Archive, ISBN0-521-33609-0, p. 69
^Patinkin, Sheldon. "No legs, no jokes, no chance": A History of the American Musical Theater (2008), Northwestern University Press, ISBN0-8101-1994-3, p. 400
^Ilson, Carol. Harold Prince: A Director's Journey, Hal Leonard Corporation, 2000, ISBN0-8791-0296-9, p. 156
