Dolly Parton’s Broadway Musical Faces Brutal Backlash: ‘Move It to a Drag Bar in Vegas’
Avery Sinclair here, your favorite cynic with a taste for truth and zero tolerance for fluff. If you were expecting glitter, heartwarming harmonies, and standing ovations at the premiere of Dolly: A True Original Musical, well, honey, let me pour you a stiff drink and tell you what really went down.
Let’s cut through the rhinestones and sequins — Dolly Parton’s long-awaited Broadway-bound musical had its debut in Nashville earlier this month, and if early reactions are any indication, it might need more than just a rewrite. One audience member, clearly not holding back, suggested the show would be better suited “in a drag bar in Vegas” — and that was the nicer comment.
The production, titled Dolly: A True Original Musical, is being produced by Parton herself alongside Danny Nozell and Ambassador Theatre Group. The show traces her life from humble Appalachian beginnings to global country icon status. But according to insiders and attendees, the performance felt bloated, overly sentimental, and oddly out of place — like trying to fit a square peg into a sparkly Broadway-shaped hole.
At nearly three hours long, audiences reportedly sat through full renditions of both hits and deep cuts alike — some so obscure even die-hard fans raised an eyebrow. Three actresses portray different stages of Dolly’s life: Katie Rose Clarke (eldest), Carrie St. Louis (middle), and Quinn Titcomb (youngest). This casting format has been used before in shows like The Cher Show and Tina: The Tina Turner Musical, which means it’s not exactly breaking new ground.
Clarke, who plays older Dolly, did earn praise for her emotional delivery of “I Will Always Love You” during a farewell scene to Porter Wagoner, but overall, the book — co-written by Parton and Maria S. Schlatter — was met with brutal honesty. Described as ranging from “bland” to “terrible,” many believe the script needs a complete overhaul by someone with serious theater chops.
Adding to the confusion, director Bartlett Sher — known for his work on more refined productions like The King and I — seems like a strange choice for a project rooted in Southern charm and honky-tonk storytelling. Multiple sources claimed he’s simply not the right fit, suggesting he stick to revivals rather than attempt original musicals.
There’s also uncertainty about the show’s Broadway timeline. Originally eyeing a spring 2025 debut, insiders now say it may not make the deadline. Plans to move into either the Al Hirschfeld or August Wilson Theatres have hit snags, with Stephen Adly Guirgis’ Dog Day Afternoon stepping into one of the slots instead.
Despite the criticism, there are still believers. One optimistic attendee said the show had “good bones” but was “just unfinished.” And while some industry viewers think it’s beyond saving, others remain hopeful thanks to Parton’s relentless drive and charisma.
Parton, ever the optimist, is reportedly fully invested in making the musical a success. A production source gushed, “You give her five minutes with any cynic, and they will walk away a true believer.” Let’s hope she works fast — because right now, this show feels less like a standing-ovation moment and more like a last-minute save at the editing table.
And that’s today’s dose of reality. You’re welcome.
Sources: Celebrity Storm and New York Post
Generated by AI
