Beaches, the 1988 film that turned Bette Midler’s rendition of “Wind Beneath My Wings” into a cultural touchstone, has finally reached Broadway as a stage musical — and the result is a production that struggles to justify its long journey to the Majestic Theatre.
Opening tonight, the adaptation bears the full title Beaches, A New Musical, and arrives after a troubled development history that began with a 2014 world premiere in Virginia. Despite more than a decade of revisions, the show feels less like a triumphant realization and more like a compromise shaped by loss, logistics, and the limits of its aging composer.
The musical’s book, adapted by Iris Rainer Dart from her 1985 novel and with contributions from the late Thom Thomas, follows the decades-spanning friendship between Cee Cee Bloom, the brash, talented performer, and Bertie (Hillary in the film), her privileged, steady counterpart. Their bond forms on an Atlantic City beach where young Cee Cee, played with scene-stealing energy by Samantha Schwartz, sasses her brassy mother and dares Bertie to dip her toe in the surf — a moment the sources agree captures the spark of their lifelong connection.
Yet the stage version quickly reveals its shortcomings. Critics describe a production cluttered with broad performances, chintzy sets, and a score that fails to leave a lasting impression. Mike Stoller, the 93-year-old legend behind Smokey Joe’s Cafe and countless 1950s–60s hits, was brought in after the original composer departed, but his contributions here are described as samey and unmemorable, weighed down by Dart’s literal, expositional lyrics. Songs like “Show the World Who You Are” and “The Brand New Me” come and move without sticking, leaving little musical legacy beyond the inevitable return of “Wind Beneath My Wings.”
That song’s arrival at the finish of the show underscores a central irony: whatever nostalgia the audience feels is not for the new material, but for Midler’s iconic film performance. As one reviewer put it, the musical is “most charitably viewed as an oldies act for a movie,” a sentiment echoed across all three sources.
The production’s aesthetic reinforces this sense of inadequacy. Unconvincing sand dunes sit at the front of the stage, while the rest of the set consists of minimal Jenga-stack panels that slide across or descend from above. Costumes alternate between chintzy and drab, and the overall look has been called “strikingly cheap-looking” — a quality some attribute not to artistic choice but to cost-cutting, especially given the small cast forced into grueling multi-role assignments.
Under Broadway’s “Rule of Three,” both Cee Cee and Bertie are portrayed by three actors each to represent different ages. But the eight remaining actors are stretched thin, with one man playing 10 parts and another 15 — a burden described as evidence of economic constraint rather than artistic intent. The direction by Lonny Price and Matt Cowart does little to elevate the material, leaving the show to limp into the Majestic Theatre “seeming already winded.”
Amid the shortcomings, two performances stand out as lifelines. Jessica Vosk, making her Broadway origin debut as adult Cee Cee, draws consistent praise for her warmth, humor, and vocal power. Though following Midler is a daunting task, reviewers agree Vosk rises to the challenge, “coming out smelling like a rose.” Equally noted is the young Samantha Schwartz, whose portrayal of childhood Cee Cee — complete with a springy red wig and feather boa — brings energy and charm to the early scenes.
In contrast, Kelli Barrett as Bertie is given little to do beyond singing the show’s dullest numbers, serving largely as a placeholder before Vosk can reclaim the spotlight. This imbalance intensifies a dynamic already present in the film, where Midler’s presence overshadowed Barbara Hershey’s role — a fact noted with apology by The Guardian’s reviewer.
The absence of certain film songs deepens the sense of loss. Notably missing is “On Broadway,” a Stoller composition featured prominently in the movie but excluded from the stage version — an irony not lost on critics. Even more pointed is the omission of “Oh Industry,” a bizarre, avant-garde number from the film’s downtown musical sequence that fans had hoped to see staged. Its replacement with what one critic called “bland muzak” only amplifies the disappointment.
Beaches on Broadway feels less like a bold reimagining and more like a missed opportunity — a product of good intentions undermined by time, tragedy, and the limits of revival. The show may keep Vosk afloat, and Schwartz may delight, but as a whole, it fails to wash ashore with the emotional resonance or artistic merit its source material once promised.
How the show’s development history shaped its final form
The musical’s journey to Broadway began in 2014 with a world premiere in Virginia, but progress stalled after Thom Thomas, Dart’s collaborator on the book, died in 2015. The original composer departed soon after, leaving the project in flux until Mike Stoller, then 93, was brought in to compose the score. This extended gestation period, marked by loss and replacement, left visible scars in the final product, which critics describe as limp and winded despite the years of effort.
Why the score fails to leave a lasting impression
Stoller’s original songs for Beaches are described by multiple reviewers as samey and unmemorable, their jazzy retro melodies burdened by Dart’s hyper-literal, expositional lyrics. Titles like “Wish I Could Be Like You” and “The Brand New Me” pass through the show without sticking, leaving little beyond the obligatory return of “Wind Beneath My Wings” — a song not written for the film or stage, but made famous by Midler’s recording. The absence of other film tracks, including “On Broadway,” further weakens the score’s connection to the source material.
What the casting reveals about the production’s priorities
The use of three actors each for Cee Cee and Bertie follows Broadway’s Rule of Three, but the remaining eight actors are overburdened, with one portraying 10 roles and another 15. Critics argue this casting pattern reflects cost-cutting more than artistic vision, especially given the minimalist sets and chintzy costumes. The strain on the ensemble underscores a production stretched thin by budget rather than bolstered by ambition.
Who carries the show despite its flaws
Jessica Vosk emerges as the production’s strongest asset, earning praise for originating the role of adult Cee Cee with warmth, humor, and vocal power that holds the audience’s attention. Her performance is consistently highlighted across sources as the reason the show remains watchable. Equally noted is Samantha Schwartz, whose energetic portrayal of young Cee Cee brings charm and vitality to the early scenes, offering a bright counterpoint to the musical’s broader shortcomings.
Is the Broadway version of Beaches faithful to the 1988 film?
The stage adaptation is based more closely on Iris Rainer Dart’s 1985 novel than on the Garry Marshall film, which explains the absence of certain movie-specific elements like the song “On Broadway” and the surreal “Oh Industry” number. While it retains the core friendship narrative and ends with “Wind Beneath My Wings,” it diverges in tone and musical content, making it a distinct interpretation rather than a direct translation.
Why was Mike Stoller chosen to compose the score, and how did it turn out?
Stoller was brought in after the original composer departed the project, leveraging his legacy as a rock & roll songwriter and Broadway veteran from Smokey Joe’s Cafe. Yet, at 93, his creative output for Beaches was criticized as samey and unmemorable, with reviewers noting the songs lack distinction and fail to stand out in the show or his broader catalog.
