Skip to main content

The Muppets Bring Humor and Heart to the Hollywood Bowl in "The Muppets Take the Bowl": Review


The Muppets are in a bit of weird situation. Six years ago they made their big comeback with a smash hit movie, but since then they have had another flop movie and a short-lived television show. The franchise is still figuring out what iteration of itself works best for a 21st-century audience, and if it's not movies and it's not TV, what is it? It seems like they are trying to answer that question by putting on a rare live performance, happening September 8-10th at the Hollywood Bowl.

Like the good Muppet fan I am, I was on hand opening night in eager anticipation of finding out what a live Muppet show looks like. It looked like, well, what you might expect it to look like. Puppeteers dressed in all black performing their characters right before our very eyes. That is when there wasn't a platform or podium they could hide behind, which there occasionally was during the course of the two-and-a-half hour show. While it certainly isn't how we are used to experiencing the Muppets, whose films and TV shows have painstakingly gone out of their way to conceal the performer, it was cool getting to see the characters performed like never before.

This was Matt Vogel's first real test as Kermit the Frog since taking over from Steve Whitmire. His version was first introduced in a YouTube video last week, but here Kermit has a heck of lot more to do than he did in the two-minute video. I was nervous about how the audience would react to him, but there wasn't any need to be. He nailed it. Taking on such an iconic role is no small task and Vogel handled it incredibly well, especially considering it was live. There were moments where he sounded uncannily like Jim Henson. But then again, there were moments where he sounded like Constantine to me. For those wondering about Steve Whitmire's other characters; Beaker was performed by David Rudman, Statler by Peter Linz, and Rizzo was nowhere to be found.

The other Muppet performers were all excellent as well. Eric Jacobson as Fozzie Bear, Miss Piggy, and Animal, Bill Barretta as Pepé and Bobo, and Peter Linz as Walter and Robin all did not disappoint. And of course, it was wonderful getting to see original Muppet performer Dave Goelz as The Great Gonzo, among other characters. The Hollywood Bowl Orchestra, as conducted by Thomas Wilkins, was in fine form, best exemplified during the fireworks finale, where they performed a medley of various Muppet songs, including Hey A Movie, Together Again, and We're Doing A Sequel.

The format was the same as the format of a Muppet Show episode. Instead of backstage antics filling the time between acts, there was a tenuous thread line about the show not being long enough that played out somewhat tiresomely over numerous scenes with Kermit and Scooter. The musical numbers typically landed better than the comedy sketches, which tried hard to replicate the meta humor of the original Muppet Show, and came close to doing so, but lacked something of the edge from that show. These sketches were almost trying too hard to please everyone in the audience.

Most of the classic sketches from The Muppet Show appeared in some form or another, including Veterinarian's Hospital, Pigs in Space, and Muppet Labs. They even did Wayne & Wanda. Twice. For those of you who don't know, Wayne & Wanda was one of my absolute favorite sketches even though it was discontinued after the first season of the show. It entailed Wayne and Wanda, a couple who sings standards that Sam Eagle is always trying to use to add some culture to the show. Their performances always start out good, until they get derailed by some literalization of the lyrics. In the Bowl show, they start singing Send in the Clowns only to be chased off stage by actual clowns. It was amazing. Their second appearance wasn't their best, unfortunately. They sang Otis Redding's Sittin on the Dock of the Bay, which itself is a bizarre choice for Wayne & Wanda, and the interruption is that they get eaten by a shark. I guess it's funny, but the lyrics of the song don't mention a shark or being eaten so it didn't fit the format. But considering we haven't seen these characters as anything other than background players since the '70s, I'll take what I can get.

Every episode of The Muppet Show had a celebrity guest star, and this time was no different. The guest was SNL's Bobby Moynihan, who I guess was a good choice if they couldn't get anyone more famous. He's a funny guy, even if the bits they wrote for him were sometimes awkward and corny. Also cool was when before he and the Muppets sang a song towards the end of the evening, Moynihan gave a mention to his high school, Eastchester High School, the same school I recently graduated from.

The show was advertised with surprise guests and, in that area, it was somewhat lacking. Danny Trejo and Jimmy Kimmel made brief video appearances, and aside from Moynihan, the only in person special guest was Paul Williams, who of course, composed several classic Muppet tunes, including The Rainbow Connection, which he sang with Kermit, although it was clearly lip-synched. I would have liked to see some genuinely surprising celebrity cameos, but considering how hard it would have been to arrange those, and how hard it must have been organizing the show in the first place, I understand why it didn't happen.

So, is the future of the Muppets on stage? Based on The Muppets Take the Bowl, the answer is: possibly. Perhaps the mammoth Hollywood Bowl was not the best place to try out their stage act. The venue is so large that it only emphasized how small the puppets actually are. They take up so little of the stage, it takes some out the enjoyment out of watching them. Also because of set changes and things like that, the pace was a lot slower than a Muppet Show episode, which a detriment to the comedy bits. Miss Piggy's big show-stopping number, where she performed Adele's Hello until she ends up getting tossed around the stage by her dancers was the evening's best use of the live element. The same number wouldn't have landed the same way in a movie, where it's less obvious the amount of work that goes into making a puppet look like it's not a puppet. If they can figure out how to infuse more of the show with the kind of energy generated in that number, I can easily see the Muppets playing in theatres all across the world.

By far, my favorite part of the evening came at the end of the curtain call, when Moynihan introduced the Muppet performers by name, and they each received enthusiastic applause from the audience. As Muppet fans, we never get the chance to cheer for those guys when they don't have a puppet on their hand. With everything happening lately in the Muppetsphere, I'm glad we a got chance to voice our sincerest appreciation for the work they do.


What did you think of The Muppets Take The Bowl? Do you hope to see The Muppets perform live more in the future? Let me know in the comments below! Thanks for reading!

Comments

  1. The King Casino - Herzaman in the Aztec City
    The King Casino in Aztec City is the place ventureberg.com/ where you can herzamanindir.com/ find and play for real, real money. Enjoy a 토토 memorable septcasino.com stay at this one-of-a-kind casino gri-go.com

    ReplyDelete

Post a Comment

Leave a comment!

Popular posts from this blog

Spring 2026 Broadway Review Roundup: Every Brilliant Thing, Giant, Dog Day Afternoon, and More

ChannelTim must keep up with the times, so I’ve joined TikTok! I am reviewing the New York spring theatre season over there, so go throw a follow my way . For those of you not on that app, I’ll be doing a couple of review roundups here. Below are the scripts for my videos.  Every Brilliant Thing Daniel Radcliffe returns to Broadway in Every Brilliant Thing,  on the very stage where he last appeared, in the Tony-winning revival of Merrily We Roll Along . Whereas Merrily showcased his chemistry with his co-stars, this time around, Radcliffe’s the only credited actor on the stage, although he’s not entirely alone, as Every Brilliant Thing incorporates a good deal of audience participation. Now, I know a lot of you out there are weary of shows with audience participation, I know I am, but here I thought it was not awkward at all, and that wasn’t an easy task considering there are multiple scenes that require these audience members to play character and hit emotional beats. Espe...

Spring 2026 Broadway Review Roundup #2: Death of a Salesman, Cats: The Jellicle Ball, Becky Shaw, and More

ChannelTim must keep up with the times, so I’ve joined TikTok! I am reviewing the New York spring theatre season over there, so go throw a follow  my way . For those of you not on that app, I’ll be doing a couple of review roundups here. Below are the scripts for my videos.  Monte Christo It’s no easy task to take a work of 19th literature and adapt it into a musical. For every Les Mis , there are half a dozen Jane Eyre s and Dracula s. But that track record has not daunted the writers of Monte Christo: A New Musical , who approach the source material, The Count of Monte Christo by Alexandra Dumas, with a bewildering combination of pep and disinterest. For a show that was only two hours long including an intermission, there was always going to be a lot of truncation of the plot, and that’s fine, but Monte Christo is also lopsided structurally. Most of act one is is taken up by the set up of Edmund Dantes getting set up, and he doesn’t take on the identity of the Count until ...

Jim Parsons and Katie Holmes to Return to Broadway in Our Town: Review

A champagne problem of mine is that, having grown up in a suburb of New York, my knowledge of the theatrical canon is largely confined to the plays that have been revived on Broadway in my lifetime. And since Thornton Wilder’s seminal Our Town was last produced on the Main Stem when I was four years old, I had never encountered it until I saw Kenny Leon’s new revival, opening October 9th at the Barrymore Theatre. My theatre-going companion, hailing from a Midwestern small town not dissimilar from Grover’s Corners, was intimately familiar with the material via multiple high school interpretations. Despite being an oft produced play, Our Town had eluded me for so long that I was floored by the daringness and perceptiveness of the text when I finally saw it for myself. But that was all that floored me. Remarkably meta-theatrical for a play written in 1938, Our Town is both a play about life in a small town at the turn of the twentieth century and a play about a play about life in ...