The Paparazzi

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The new musical The Paparazzi at the AMT Theater by composer Al Tapper and writer Tony Sportiello is pleasant enough but considering it is a satire on tabloid journalism it ought to have taken its own advice: “And remember, if there’s no heat, there’s no fire.” While the show is very professionally done, it is quite tame. Tabloid journalism was and is much more incendiary than this.

The story is narrated by ironic PJ Cirino as famed and feared gossip columnist Walter Winchell (active from 1929 – 1969) who defines “pararazzi” for us. Apparently, it was created by writer/director Federico Fellini in his 1960’s film La Dolce Vita to refer to photographers out for a story but came to mean anyone who engages in celebrity gossip. Fellini chose the word because it reminded him of the sound of a mosquito.

In 2026, budding journalist Christie Barnes has come to New York City from Kansas as the winner of the Beacon National Spotlight Award. This means a job at The New York Beacon, the city’s most successful gossip newspaper. However, with Christie’s moral integrity how long will she last at a publication which does not care if a story is true or fictitious – as long as it sells papers. At first rejected by its sleazy editor Mike Peterson, she talks her way into a trial assignment and is assigned veteran photographer Tom, a jaded reporter who has seen it all. He shows her the ropes and she gets published but with a rewrite by another journalist distorting the facts. She finds that she is immediately in competition with Betty Malone, the Beacon’s ace reporter, whose ethics are deplorable when nonexistent.

However, Christie learns very quickly and makes the game work for her, though her ethics suffer for it. She learns to pay hotel concierges for tips as to which celebrities are in town and where they can be found. Haley Carter, her best friend from Kansas, is in the chorus of a Broadway revival of The Sound of Music and all the gossip columnists are trying to find out if the star of her show Matthew Bonner is having an affair with his co-star. When Christie does crack the story, she is appalled at the damage it does and has a change of heart. Along the way she meets Carlo, the concierge at the Marriott Hotel, and Jimmy Maguire, a folk singer who Christie used to hear at a dive bar in Kansas before he became a big star.

While Tony Sportiello’s dialogue needs spicing up with much more newspaper lingo, composer Al Tapper’s music is bouncy and amiable. His lyrics, however, tend to be too lame and repetitious except for his clever patter songs: Christie’s career plan, “Christie’s Theme,” the ode to “Brooklyn,” sung by Tom and the ensemble, Betty’s modus vivendi in “Front Page Betty,” con artist Ricky Knight’s “The CEO Lament,” and Mike’s “It’s Time for a Celebration” when they make the scoop of the year. Director Nancy Robillard does make the show move swiftly along.

The cast is energetic and lively. While Brogan Nelson’s Christie is a bit too serious and stiff, she is feisty and gutsy making her character learn fast. Jake Evans’ editor Mike Peterson is not quite as vicious and nefarious as he is described. Julia Meadows, on the other hand, as cut-throat Betty Malone is as devious and deceitful as she is intended to be. As Christie’s friend Haley, Emily Bacino Althaus is sweet as the chorus girl set on higher things. Dan Olson as the world-weary photographer Tom gives able support as well as puts over his two solos. In the small role of folk singer Jimmy Maguire, Jack Rasmussen sincere performance makes the two songs from his act better than they actually are.

Ryan Howell’s Art Deco unit set with the outline of the Chrysler Building gives the story a midtown feel but does not make clear when all this is happening. The costumes by Cathy Small are credible casual wear but are rather too bland to define the characters except for high-powered Betty. John Burkland’s lighting creates various moods for the unchanging set. With no references to the internet or social media, The Paparazzi seems like it is taking place several decades ago but the program insists that this is all happening now in 2026.

The Paparazzi (through April 11, 2026)

AMT Theater, 354 West 45^th Street, in Manhattan

For tickets, visit http://www.AMTTheater.org

Running time: two hours and 15 minutes including an intermission