The Warriors review – Lin-Manuel Miranda and Eisa Davis come out to play with firecracker musical: This concept album based on Walter Hill’s 1979 film features megastar rappers, Hamilton alumni and styles from metalcore to salsa – it is pulled off with breathtaking brio (Chris Wiegand, 17 Oct 2024, The Guardian)
In their adaptation, a concept album that raises the tantalising prospect of a future staging, Lin-Manuel Miranda and Eisa Davis achieve something similar. The blistering, kaleidoscopic opener is presided over by dancehall dynamo Shenseea as a DJ introducing MCs for each borough. Amid punchy fanfares, they are deftly delineated: Chris Rivers as a raspy Bronx, Nas cranking up intrigue as Queens, Cam’ron smoothly humorous as Manhattan (“when you say New York, we’re actually what you mean”), Busta Rhymes’ explosively gruff Brooklyn and Wu-Tang Clan’s Ghostface Killah and RZA spinning ethereal suspense for Staten Island, repeating the detail of their arduous route to the Bronx, “taking a train to a boat to another train”. […]
Miranda and Davis deliver the same lurid pulp jolts as the movie, finding equivalents for Hill’s arsenal of whip pans, wipes and slo-mo violence, yet they also share the more sociological perspective of Sol Yurick’s original 1965 novel and in particular his interest in what gangs offer the alienated and alone. (Yurick drew on his experience working for the city’s welfare department.) A majestic-sounding Lauryn Hill’s solo as Cyrus, If You Can Count, uses several of the character’s rallying lines from the screenplay but builds them into something much more resonant. “Nobody’s wasting nobody” becomes a call not just for laying down arms but for recognising the collective potential of every member in this posited gang of gangs. […]
One of the album’s joys is its unexpected pairings, especially how musical theatre stars are matched with acts from other genres. Broadway’s Alex Boniello teams up with Australian metalcore artist Kim Dracula as the Rogues on a rat-a-tat-tat duet, Going Down, that manages to veer from monstrous destruction to soaring anthem and back again. Dracula channels the toddler rage of the film’s arch-villain Luther (original star David Patrick Kelly gets an album cameo as a cop), and as you’d expect his taunt “come out to play” becomes a thunderous hook.