It's a new Broadway musical based on the true story behind a famous 18th century hymn. Contributing critic David Cote of Time Out New York filed the following review of "Amazing Grace."

With the musical "Amazing Grace," it’s hard to tell which story is more unlikely: the son of slave-trading family in 18th-century England works in the family business, has a religious awakening and writes the hymn “Amazing Grace,” or a police officer from Philadelphia with no training decides to write a big Broadway show. Both stories are true, but when they intersect, the results are less than amazing.

First-time, self-taught composer-lyricist-book-writer Christopher Smith was determined to turn the true story of slaver turned abolitionist John Newton into a Les Mis-style melodrama, even if the story doesn’t really sing.

The tale might work in a historical drama by a talented playwright, but Smith and book co-writer Arthur Giron deliver little more than a clunky period piece broken up by bombastic, generic anthems. Everything has been buffed to a high sheen by a talented cast and crew with $16 million at their disposal. There’s plenty of cheap piety, white guilt and suffering by displaced Africans, but we know how this story will end –- it’s the title, after all.

As Newton, Josh Young is earnest and has a sterling tenor, but his character is annoyingly passive and shrill. The majestic Chuck Cooper brings every ounce of humor and dignity to bear on the servant Thomas, who seems to exist merely to absolve the hero.

As with the recent, equally dismal "Doctor Zhivago," "...Grace" proves that producers are willing to burn piles of money trying to resurrect the 1980s-style megamusical. At best "Amazing Grace" might manipulate audiences to tears, but in the end, it’s preaching to the choir.