I can't help but wonder just how long Susan Stroman is going to be able to ride on the coattails of 'The Producers." Looks at what she's directed since then: "Thou Shalt Not," "The Frogs," "Young Frankenstein," and now "Happiness." Yes, there's also "Contact" on her directing resume, but that's a ballet, despite what the Tony nomination committe may think. And along with her delightful "Double Feature" at NYC Ballet, I have no complaints about her direction of BALLET. Original musicals? Well I think her record speaks for itself.
Okay, so tonight was only the first preview of a world premiere musical. Had the creative team not heard of the out of town tryout? Or did all of the regional theatres look at the musical and just reject because it's not very good. Whatever the case, this show needs a lot of work. The score is full of mediocre songs. Not one came even close to being as good as songs like "Will You?" or "Around the World" or "Another Winter in a Summer Town" or even "Jerry Likes My Corn" from Frankel and Korie's last musical, "Grey Gardens." We do, however, get songs that sound a bit like those faux-period songs from the first act of "Grey Gardens" that Edie sings at the piano. You know... the songs that were so unmemorable that I can't even remember their names? Those songs.
John Weidman's book? Seemed a bit "The Story of My Life" meets "Company" to me. The basic idea, without giving away the twist, is that all of these people are stuck in a subway car, and one by one they relive their happiest moments. In song. Except for the one guy who hasn't had a happy moment yet. So you get the treacly "let's look back at the happy times of my youth" vibe from "Story of My Life" combined with that "Company"ish structure, where each character gets their one song, which the unhappy central male character observes, and then at the end (**Spoiler alert, I guess, though it seems kind of obvious**) he sings a song about how now realizes he wants to "Be(ing) Alive" or rejoin the human race "Before the Parade Passes By" (oops, not sure how Hello Dolly slipped in there). The problem with this structure is that each character only gets one song/scene to make the audience care about them, so that better be a damn fine song. And "damn fine" is not a phrase I'd use to describe the majority of the show. There are some other songs thrown in their that the crowd sings - I suppose to break up the monotony of it all - but I'm guessing those will be the first to hit the cutting room floor, considering the show is running an overlong two hours, sans intermission right now. I did kind of enjoy the opening number, but for whatever reason, it was orchestrated to prominantly feature a synthesizer, making the song sound very 1980s. I
The set is... serviceable. The subway car doesn't look much like a New York subway car (they could have at least gotten the seats right), but then again the show also has "New Yorkers" talking to each other on the train. Has John Weidman ever actually ridden on the subway before? Because if he did, I think he'd know that even when a train is stuck in a tunnel, New Yorkers do not talk to each other. They sit there in angry silence, and angrily look at their watches, while listening to iPods or reading books or newspapers. None of this chit chat nonsense. So I guess this show isn't much for realism. Call me a jaded NYer, but people singing instead of speaking I can accept via willing suspension of disbelief. But native New York strangers talking to each other? Not so much.
Back to the set, I'm guessing it's so minimalist because Lincoln Center spent so much money on the huge cast. And a very good, huge cast it indeed is. The only weak link was probably Sebastian Arcelus who I found a bit bland. Thank goodness Joanna Gleasona and Hunter Foster have returned to musical theatre after disappointing attempts at drama. And Hunter Foster gets what was probably the most interesting choreography of the night in his song about climbing the ladder of success... using literally a ladder.
The audience response at the end seemed fairly positive - then again audiences gave warm responses to the first previews of much unloved shows like "The Little Mermaid" and "The Story of My Life" too, so I don't know how much that counts.
I have a ticket to see the show again in two weeks, so hopefully that will be enough time to do at least some of the needed work on it. But if you're expecting another "Grey Gardens," well it's probably wise to lower your expectations just a smidge. Or forty.
Just so you don't think all I do is suffer, I did see two fantastic productions last week: one was "A Winter's Tale" at BAM, and the other way Edgar Oliver's solo play, "East 10th Street." Unfortunately I'm pretty sure "A Winter's Tale" is sold out, and "East 10th Street" closes (since it's now Saturday) tonight - why Brantley waited until the next to last weekend of its returns engagement to rave about it, I'm not sure I understand. I will be sure to point out return engagements of either of those.
If you have the time or interest, you can listen to Edgar Oliver read a story here. There's something strangely hypnotic about his voice...
