Full disclosure: I was never a fan of the film when it was released 37 years ago, and even less so after re-watching it recently. It’s tinged with sexism and it rankled my feminist sensibilities. And then when I found out that Ron Shelton who wrote the screenplay was also the book writer for the musical adaptation, my expectations were pretty low. But lo and behold, the show is pretty terrific. The stage version’s been kicking around for more than a decade and apparently the lengthy development process paid off.
The story, based on Shelton’s own career in baseball’s minor leagues, is billed as a romantic comedy featuring three yearning souls joined by their love of the game. Annie Savoy (Carmen Cusack), played by Susan Sarandon in the movie, believes in “the church of baseball” and sees her mission in life as a savior of sorts by endowing one promising player on the Durham Bulls team each season with her wisdom, baseball knowledge and sexual prowess.
She sets her sights on the new pitcher, Ebby Calvin LaLoosh whom she nicknames “Nuke.” On film, the role of the dim young phenom with “the million dollar arm and 5 cent head” was played by Tim Robbins. On stage, Will Savarese plays the inexperienced pitcher with tremendous charm and a boatload of talents to match. He is a triple threat, singing and dancing with the incomparable skills of a hotshot utility player.
In an effort to prepare “Nuke” to move up to the big leagues (or as the ball players call it “The Show”), the team’s manager brings in veteran catcher Crash Davis (Nik Walker). This was the part that cemented Costner as a bonafide movie star. Walker echoes Costner’s appealing arrogance while softening the character’s cynicism to a degree. He’s a first rate actor and singer possessing the necessary charisma to make Crash a worthy musical counterpart to Costner’s star turn.
Everyone in the cast stands out. I was especially impressed with Cusack as the sexy and smart poetry spouting Annie. She belts out her tunes with the power of a homerun hitter. She also deepens the character with a keen sense of self-awareness. This is a woman who knows enough to shrewdly point out that male bonding could also be a sign of latent homosexuality. She later reveals a vulnerable side and a level of insecurity that gives Annie a dimension that was missing in the movie.
There is a kind of magical alchemy that took place in Bull Durham’s conversion from film to stage which renders the musical version far more satisfying, both dramatically and emotionally. I say “magical” because on the surface, the story, most of the dialogue and the relationships remain much the same. On film, I didn’t find the characters all that sympathetic and the romance felt unearned. But just as Crash and Annie are able to fix Nuke’s flaws and mold him into an ace pitcher, Shelton and his creative team did something similar with the story by figuring out how to make all three of the lead characters worth rooting for.
Shelton obviously took note of the sexist overtones and remedied it by making Annie an equal player in the dynamic and adding an aspect of female empowerment that was non-existent in the movie.
Susan Werner, responsible for both music and lyrics, deserves much of the credit for fleshing out the women characters with some fine songs. Millie (Ashlyn Maddox), who came off in the film as rather slutty, is more interesting now in an improved subplot. When she fears that her reputation prevents her from wearing a traditional wedding dress, the women boldly sing “Every Woman Deserves to Wear White.”
Werner’s entire score is tuneful and clever. It’s also quite eclectic, displaying a talent for a variety of styles from country/western to rock to blues and gospel. Her song “Winning” is a rousing Act One closer. I especially enjoyed a number called “Pensacola” featuring the coaches and announcer crooning about their brief but meaningful romances on the road. And Annie’s 11:00 number “The Damnedest Season” hits home. If this is Werner’s first foray into Broadway songwriting, I encourage her to write a lot more!
Director Marc Bruni gets a huge tip of the cap for polishing the production with a sharp focus. There are no wasted moments and everyone gets to step up to the proverbial plate in a memorable way.
And once again choreographer Joshua Bergasse hits it out of the park with thrilling dances. The opening number “The Church of Baseball” features the most athletically and gymnastically gifted ensemble members I’ve seen perhaps ever. He puts his dancers through their paces juggling bats and balls with supreme finesse. And miraculously, nothing was dropped.
Derek McLane’s scenic designs, dominated by a ballfield with movable spectator stands complete with a replica of the smoking bull in Durham’s old stadium enhances the entire experience.
With some key plot changes, the three lead characters are more relatable now. They learn invaluable lessons about each other and themselves which adds up to a more compelling and relatable storyline; and given the excellent score and choreography, Bull Durham is not only a true romantic comedy, it makes for fine all-star entertainment. If Broadway is the theatrical equivalent of the MLB in baseball circles, then Bull Durham The Musical is finally ready to step up to its version of “The Show”.
Bull Durham opened on October 12, 2025, at the Paper Mill Playhouse and runs through November 2. Ticket and information: papermill.org
