A brand new musical called Atlantis opens on the idyllic island with the song, “We Rise.” Soon an outsider washes upon the shore and exposes a dark secret that has been lurking within paradise. Matthew Lee Robinson wrote a tuneful, very Disneyesque score. He cowrote the book with Ken Cerniglia and Scott Anderson Morris. This ambitious production has been staged at the Virginia Repertory Theatre in Richmond.
Atlantis kicks off with breakneck speed which, unfortunately, makes it impossible to understand the plot other than superficially. Act I is a bombardment of songs. There are five ruling clans (Fire, Water, Earth, Air and Aether). In the far superior second act, the musical slows down to take a needed breath. The clan distinctions can be followed. More dialogue is employed which allows a compelling story to emerge more clearly.
The first born children are preparing for some sort of important, traditional ritual. While that is occurring, Maya (Antoinette Comer) discovers a foreigner on their shores (Marcus Jordan). He is incarcerated and his presence must be kept a secret. Why? That is the mystery which unfurls and sets up the intrique.
When Arah arrives, the island begins tremoring. Does his presence anger their god Thera? The marketing material for this show indicates that this story takes place in the days prior to the island’s disappearance. There seems to be plenty of conflict to explore but the wildly frenetic staging by Director Kristin Hanggi (Rock of Ages) shoots for spectacle. Disney musicals may be of varying quality but you always know what is happening and why.
Jason Sherwood’s scenic design was interesting and nicely complementary with Amy Clark’s costumes. I never imagined Atlantis to be a combination of groovy earthly garden with technological flourishes such as circular astrological charts. The setting and how it was used was both creative and a fun interpretation.
Kaden (Julian R. Decker) is a firstborn son and Maya’s best friend. He sings one of the best songs, “Let’s Start a War.” In a show where most of the lyrics are about feelings, this particular number felt integral to furthering the plot. This character is particularly torn between what he was taught to believe and an uncomfortable emerging truth. When he participates in the group ritual, his dance is rigid precision. You can see the intensity of getting the motions perfect. If that exactitude spread throughout the entire stage to all the oldest children, the moment would have been even more impactful.
The themes explored in Atlantis are certainly relevant to today’s young people. Do I believe what I’ve always been taught? Should I be open to change? Should we trust our leaders and what they say? What is truth? In order to thrive as a culture and community, are uncomfortable sacrifices needed? Are they justifiable? These are heavy subjects that poke through the murkiness now and then.
All new musicals need time to find their sweet spot. The drama and plot developments in the second act add some welcome gravitas to a show which reaches far too often into a bag of oft-used musical comedy hijinks. In addition, a dramatic scene near the end is difficult to comprehend from what came before.
Interesting questions and themes worth pondering are raised in Atlantis. Slowing down, excising a few repetitive songs and clarifying the book could help pull us further into this tale.