Stage: The First Wives Club
The First Wives Club is a comedy about three middle-aged women who get back at their cheating spouses and their new trophy wives.
Old Globe Theatre, San Diego
(619) 234-5623
**
Subscribe to The Week
Escape your echo chamber. Get the facts behind the news, plus analysis from multiple perspectives.

Sign up for The Week's Free Newsletters
From our morning news briefing to a weekly Good News Newsletter, get the best of The Week delivered directly to your inbox.
From our morning news briefing to a weekly Good News Newsletter, get the best of The Week delivered directly to your inbox.
On the heels of 9 to 5: The Musical comes another “pre-Broadway tuner based on a film comedy from yesteryear about fed-up women scheming to wreak revenge upon chauvinist-pig men,” said Les Spindle in The Hollywood Reporter. Inspired by Olivia Goldsmith’s 1992 novel and the subsequent film, The First Wives Club wants you to laugh along with three middle-aged women as they strike a blow against the cheating spouses who’ve done ’em wrong. But an endless series of crass jokes and “misfired gags” produce little hilarity. You might have hoped that writer Rupert Holmes’ “crushingly unimaginative” script would be made up for by the tunes, created by legendary Motown songsters Brian Holland, Lamont Dozier, and Eddie Holland. But these songs—a disappointing mix of “I-am-woman-hear-me-roar ballads” and a “handful of other superfluous numbers”—hardly resemble the trio’s hits of yore.
The show’s producers apparently assume its target audience will already “arrive in just the right giddy mood of sisterhood solidarity,” said Charles McNulty in the Los Angeles Times. But it’s hard to create such a mood when the stars “seem like they barely know each other.” The total lack of chemistry among actresses Barbara Walsh, Karen Ziemba, and Sheryl Lee Ralph makes the two and a half hours of tedious “R&B elevator music” nearly unbearable. The show has a few charms: It’s hard to resist rooting for the trio as they get back at former spouses and their new trophy wives, especially since Sara Chase is such a wicked delight “as all three home-wrecking vixens.” But if this musical wants to make it to Broadway, a little “creative couple’s therapy” may be in order.
Sign up for Today's Best Articles in your inbox
A free daily email with the biggest news stories of the day – and the best features from TheWeek.com
-
What should you be stockpiling for 'World War Three'?
In the Spotlight Britons advised to prepare after the EU tells its citizens to have an emergency kit just in case
By Elizabeth Carr-Ellis, The Week UK Published
-
Carnivore diet: why people are eating only meat
The Explainer 'Meatfluencers' are taking social media by storm but experts warn meat-only diets have health consequences
By Elizabeth Carr-Ellis, The Week UK Published
-
Scientists want to fight malaria by poisoning mosquitoes with human blood
Under the radar Drugging the bugs
By Devika Rao, The Week US Published
-
If/Then
feature Tony-winning Idina Menzel “looks and sounds sensational” in a role tailored to her talents.
By The Week Staff Last updated
-
Rocky
feature It’s a wonder that this Rocky ever reaches the top of the steps.
By The Week Staff Last updated
-
Love and Information
feature Leave it to Caryl Churchill to create a play that “so ingeniously mirrors our age of the splintered attention span.”
By The Week Staff Last updated
-
The Bridges of Madison County
feature Jason Robert Brown’s “richly melodic” score is “one of Broadway’s best in the last decade.”
By The Week Staff Last updated
-
Outside Mullingar
feature John Patrick Shanley’s “charmer of a play” isn’t for cynics.
By The Week Staff Last updated
-
The Night Alive
feature Conor McPherson “has a singular gift for making the ordinary glow with an extra dimension.”
By The Week Staff Last updated
-
No Man’s Land
feature The futility of all conversation has been, paradoxically, the subject of “some of the best dialogue ever written.”
By The Week Staff Last updated
-
The Commons of Pensacola
feature Stage and screen actress Amanda Peet's playwriting debut is a “witty and affecting” domestic drama.
By The Week Staff Last updated