Category: Off-Off Broadway Reviews

The final three productions in this year’s New York Musical Festival are diverse in style and subject matter.  One takes place out west where guns rule and there are plenty of saloon gals.  Another harkens back to 1962 and considers how society, families and the medical profession dealt with homosexuality at the time.  The last show takes place on Diamond Beach, the location of an eerie mystery from the past.

The Gunfighter Meets His Match (Production)

There is a lovely piece of theme music that weaves throughout The Gunfighter Meets His Match.  The trumpet is featured in the melody and you can conjure up the wild west from old memories when this genre was popular in the movies and on television.  I expect there were other songs I could select as particularly melodious but this production was so busy, it was hard to focus.  As a ballad was sung, six people would be encircling the performer for no reason and with unflattering choreography.  This musical was written by Abby Payne who also plays the saloon’s piano player, May.  The story is basic and there is little in the way of character building.  A woman from the city moves to the west, gets married, then meets the gunfighter who teaches her to shoot.  Along the way he sings, in the same song, “let me show you a little lovin’ darling” and “why don’t you teach me how to love?”  This small, underwritten story could not bear the weight of the staging.  As the title character, I enjoyed Michael Hunsaker’s performance.  The tone of his characterization was probably where this musical should have grounded itself.

Sonata 1962 (Production)

In “Making The Day” Margaret Evans sings “do what you should and nothing will ever go wrong.”  FORESHADOWING, in capital letters.  Soon thereafter her daughter Laura enters and is visibly suffering through headaches.  They are a side effect of her undisclosed treatment.  My guess was that she had a lobotomy.  The musical then goes back in time to tell the story of Laura, a supremely talented pianist who receives a scholarship and goes off to college.  She meets and falls for Sarah.  The chemistry exhibited by Christina Maxwell and Anneliza Canning-Skinner brightens this musical considerably, notably in “Movie Theater.”  All the other characters are one-dimensional.  Things predictably get serious and the medical profession’s barbaric treatments for sexual deviancy and sociopathic disorders are brought front and center.  Sonata 1962 has some interesting moments and there are a number of tuneful songs including “I Will Run.”  Toward the end of this musical, mom gets to sing “Take It Off,” a bizarrely out-of-place distant cousin to “Rose’s Turn” from Gypsy.  A few too many reprises and a message heavy lament close this underdeveloped show.

Between the Sea and Sky (Production)

When a musical has a soaring, intricate score, I sometimes find myself focusing on the music rather than the staging.  Under Michael Bello’s accomplished direction, that was impossible as I wanted to see every moment of this atmospherically moody yet fun show.  In 1999, two sisters are sent to their grandmother’s beach house for the summer as their parents are getting a divorce.  This community certainly has its share of elderly folk who remember a mysterious death that occurred when hippies were in town thirty years earlier.  In the opening number, a woman appears as a specter.  Who is she?  The elder sister is currently reading Shakespeare’s The Tempest and sees a beach mystery that needs solving.  Between the Sea and Sky is a richly woven fable which managed to effectively balance its ambitions as part musical comedy, part cryptic puzzle and part lushly imagined fantasy.  Luke Byrne wrote the book, music and lyrics to this show and its cohesiveness is abundantly clear.  Songs make sense for the story, the characters and add significantly to the mood.  The surprises delight.  Every performance was excellent.  I loved this new musical which has been optimally showcased to reveal its charms.  A grand finale to the festival; feeling fortunate that I chose to see this show last.

www.nymf.org

The next three musicals at NYMF deal with the tensions surrounding the 1968 Democratic convention in Chicago, Irish Americans who chose to fight in World War II and, on a lighter note, a parody of Spider-man.

’68 (Production)

The conceit for this show is intriguing.  A librarian wants to interview and record stories from people who were connected to the rioting that occurred in Chicago during the 1968 Democratic national convention.  Attending this musical with someone born nearly thirty years later is illuminating.  Unless you know this story well, ’68 will be an incoherent jumble of names and vignettes.    The lyrics had no depth and were simplistic:  “Most of the kids are peaceful/Most of them will play fair/We don’t want to shoot them/Just because they have long hair.”  On the bus, the conventioneers sway and sing a four word song, “Where Are You From?”  Make that five words.  Toward the end of this repeating one line chorus, the word “coming” is added as in “where are you coming from?”  The book uses absurd phrases like “they are threatening to use Molotov cocktails and nudity” but this is not a comedy.  The low point comes late in Act II when a Vietnamese woman slowly walks in behind the ensemble wearing an Asian conical hat.  The screen is projected with a yellow color.  (The category is… Miss Saigon realness.)  She begins singing “all the chickens in the hen house have a name, have a name.”  Why does a Mother Superior-like nun appear singing alongside?  Near the end of the show, “The Lucky Ones” was a storytelling character song which finally illuminated what this musical might have been.

An American Hero: A World War II Musical (Production)

Ireland was neutral during the second world war, choosing not to fight alongside Great Britain.  Those who did were blacklisted and their families became outcasts.  An American Hero is the story of first generation Irish American brothers who hear the call of duty and enlist.  This accomplished show takes us on a journey from the Bronx to the battlefields in France to the munitions factory floor in Elizabeth, New Jersey.  A project developed at Southeast Missouri State University, the book is by professor Kenneth L. Stilson with music and lyrics by Cody Cole, a recent graduate.  The score is filled with gems like the telegraph inspired “Waiting on the Mailman.”  The ensemble was large and used well.  All of the battle scenes were superbly staged, not an easy feat.  As the brothers at the center of this story, Adam Schween and José Alpizar beautifully portray these characters and finely perform rich emotional songs.  Both deliver two of the best performances at this festival.  The sweeping score feels appropriate to the time period and nicely moves the story forward.  A note to make this very strong show even better would be to further develop the female characters, including the ensemble.  The idea works but doesn’t yet feel as organically real as the men.  Much of this cast has traveled to NYMF from the university.  Their youth, particularly in the gut wrenching war scenes, hits us hard as it should.  So many men who lost their lives protecting our freedoms were so very young.  Three of us attended An American Hero, fought back tears and were unanimous in our praise.  Congratulations to this cast and creative team for an exceptionally fine piece of theater.

Peter, Who? (Production)

When parodies are done well, they can be extraordinarily fun shows to watch.  They can also be very successful such as off-Broadway’s current Puffs: Or Seven Increasingly Eventful Years at a Certain School of Magic and Magic.  Peter, Who? is a silly, funny, entertaining take on Spider-man.  The show is a welcome addition to NYMF by a creative team defying gravity and having fun with the musical comedy form.  The jokes are plentiful.  The school stud Flash (who doesn’t even see Peter Parker as a person) drinks green tea “but not a lot, just enough to say I drink it.”  At the Daily Bugle newsroom, Betty informs us that “I’m like a Honda Civic.  Turn me on once and I’m good for a year.”  My favorite line: “a narrow mind gets fewer headaches.”  The set design has clever hand held comic book cut outs.  When our hero is swinging between buildings, it is far more entertaining than in the movies.  Songs are tuneful and hilarious, as they need to be.  The entire cast seems to be having a ball and, as a result, so does the audience.  Peter, Who? is not yet at the highest level of zaniness on display at Puffs.  All the necessary ingredients are in evidence.  Inserting a few more great jokes and this piece could make people smile from ear to ear from start to finish.

www.nymf.org

www.theaterreviewsfrommyseat/puffs

Opening on Broadway in 1982, Pump Boys and Dinettes was a well-received country-styled musical revue.  The boys from the gas station on Highway 57 (the pump boys) and the girls from the Double Cupp Diner across the street (the dinettes) put on an old-fashioned entertainment for their customers.  Five of the six surviving cast members reunited for a two show concert at 54 Below, Broadway’s supper club.  Never having seen this Tony Award Best Musical nominee (lost to Nine), I decided to check out this sold-out reunion.

The diner is located somewhere near Smyrna, North Carolina.  The actor-musicians perform the songs on guitar, bass, piano and kitchen utensils.  The whisk on cheese grater was particularly genius.  The tunes are country pop/rock and they were very good.  “T.N.D.P.W.A.M.” was a terrific storytelling song about “The Night Dolly Parton Was Almost Mine.”  The ladies’ lament “Tips” and “Farmer Tan” were also memorable standouts for me.

The original cast wrote all of these songs and it was a treat to see them and their adoring audience (many theater professionals) celebrating this musical 36 years later.  Curious to see a show that you may have missed?  Enjoy intimate supper clubs with great sound that serve delicious food and cocktails?  Yes?  Combine those passions and check out a reunion at 54 Below.  This is my third one (Side Show and The Drowsy Chaperone were the others).  The verdict on Pump Boys and Dinettes?  Of the original, Time magazine said the show “tickles the funny bone.”  Newsweek said the songs were “cheery, relaxed and amiable.”  I agree.

www.54below.com

The New York Musical Festival is celebrating its 15th anniversary this summer.  NYMF “nurtures the creation, production and public presentation of stylistically, thematically and diverse new musicals to ensure the future vitality of musical theater.”  This year’s offerings include 12 full productions (usually five performances each with sets and costumes) and 9 readings (full casts with scripts).  This group of three new shows journey through a magic storybook, consider life as a transgendered person during the Civil War and take us through the tumultuous 1960’s and the Vietnam War.

What’s Your Wish? (Production)

Nicholas is sixteen years old and did not get a car for his birthday so he pouts and goes to the attic.  His best friend Brian joins him there and they open a book called “To Grant Wishes.”  Along with Corley Pillsbury, Kyle Acheson (Nicholas) and Sam De Roest (Brian) wrote the music and lyrics for this truly enjoyable musical.  Playing our leads, the roles suit them nicely and we are off on a kooky, young audience friendly journey spiked with edgier adult flair.  In the song “Up There” the line “admittedly I’m a bit depressed” is rhymed with “my situation’s kind of Kafkaesque.”  The boys’ journey involves being sucked into the book where there is a Death Forest, an evil Enchantress who drinks unicorn tears, a wingless fairy and a rat.  A virgin sacrifice is needed to solve the magical energy crisis.  The book is credited to Thicket & Thistle, a troupe of actor-musicians.  The result is a delightful blend of simple plotting, creative lighting, nice tunes, witty dialogue and endlessly inventive staging.  What’s Your Wish? has a message:  life doesn’t go according to plan, so plan accordingly!  What’s Your Wish? also has a superlative performance by Joshua Stenseth in a handful of featured roles including Old Vern (the rat), mom’s boyfriend Donald plus assorted noise making characters and hilarious onstage hijinks.  It’s impossible not to wish a great future for this show; there is so much goodwill, good cheer and high entertainment value from this spirited group of artists.

The Civility of Albert Cashier (Reading)

Albert is a Civil War hero for the north.  He enlisted despite being female at birth but clearly identifies as a man.  The Civility of Albert Cashier is a nicely performed musical which improbably combines the transgendered experience with a brutal war.  There are two Alberts on display.  The young one looks like a bugle boy and not a soldier but manages to fool everyone and join the army.  The elderly Albert is under medical care and still fiercely secretive about his true identity.  The book is all over the map.  One of the soldiers is confusingly attracted to Albert (telegraphed too early).  An angry nurse confronts inequality and women’s rights.  A medical attendant is called a nancy and sings a song to Albert about going to Chicago where their type can kick up their heels.  Back and forth in time we travel.  Death and prejudices are faced head on.  By the time the older Albert faces his demons, the story has careened into a trans manifesto intervention.  Thankfully, the music and rhythms of this piece are very strong.  An admirable effort to give a non-traditional view of the trans experience, The Civility of Albert Cashier preached its messages a bit too bluntly for my taste.

Victory Train (Reading)

NYMF now takes me from the Civil War to the Vietnam War.  A group of drafted young men have avoided going overseas since they are part of The Soldier Show which functions as a patriotic recruiting vehicle.  While they sing “ride the victory train,” protestors in the background shout “Hey, hey L.B.J., how many kids did you kill today?”  The spine of this new musical is the relationship between Soldier Rick, the group’s leader, and war protestor Julie who works in a coffeeshop.  Their brief love affair reconnects years later as the older versions of Rick and Julie also feature prominently in this time shifting tale.  The book and score have been written by David Buskin and Jake Holmes.  There are some good songs in this show but the frequent shifts in tone are troublesome.  Victory Train is part melodrama and part musical comedy.  The seriousness of war and killing sits uncomfortably alongside much lighter fare.  “Bad Girls” lets us know that a man can “fire at will, ‘cuz I got the pill.  You know your ammunition won’t change my condition.”  There is also the obligatory gay storyline and a look into America’s racism, both of which are reasonably handled.  All the sidetracking (and wisecracking) doesn’t support the main dramatic arc, however.  The Vietnam War and the tumultuous 1960’s packaged as a musical variety show and romantic melodrama with comedic diversions is not an easy project to tackle, or swallow.

www.nymf.org

In fifteen years, NYMF has presented 447 musicals.  106 of them have gone on to further productions in 50 states and 27 countries.  These three offerings range from a small, intimate fantasy tale to a story of Alzheimer’s impact on a family to the lives of the emojis that live in your telephone.

Held: A Musical Fantasy (Reading)

Three people are trapped for sixty days in the prison of the Blood Wizard when Held begins.  They cannot find any way out.  Their bodies remain healthy despite not eating and not being hungry.  In this darkness and in this situation, the opening song creates an effective sense of moodiness and mystery.  This intimate three character drama proceeds to fill in the blanks.  Why are they trapped?   How do these three know each other?  One is the Dreamer with magical conjuring skills and the other two are Non-Dreamers.  Like many fantasy stories, war is looming in the background.  Held considers one’s genetic makeup and the generations that came before as predictors for life’s choices.   While the book has some odd transitions, there is dialogue to savor:  “inside the tent smells like sawdust and fresh bread.”  The threesome’s group dynamic and growth is clear and logical, as is the story arc.  Written by Kelly Maxwell and Meghan Rose, this musical may need a few more songs to allow the audience to get further inside each character’s head individually.  I wanted to know more backstory.  Held feels like a slice of a larger epic which makes this small scale piece especially effective (notably for fans of fantasy).

If Sand Were Stone (Production)

Near the end of If Sand Were Stone, there is an intimate moment between a husband and his wife, Billie.  She has been suffering from Alzheimer’s for years and the disease has taken its toll.  This musical finally stops for a second to let a real emotional moment happen.  It is far too late.  We’ve already had to endure the Spirits, four doppelgangers (?) who dance, move chairs around and add nothing except distraction to the stage.  They do occasionally spout fun facts about Alzheimer’s, often smiling when doing so.  At one point, Billie and her assistant sing If It Was A Dream facing the dancers not the audience.  Who is this story being told to?  The show was written by Carly Brooke Feinman and Cassie Willson.  I had trouble deciding about the songs, they often seemed discordant.  Admittedly, my appreciation might be affected by the staging.  How far has Billie’s memory loss deteriorated?  She keeps watering plants not remembering how often.  This is performed in an interminable scene where the Spirits dance with watering cans between four houseplants, back and forth.  At one point, a movie is turned on for Billie to keep her occupied.  A film starring the Three Stooges is projected on the screen for far too long.  Not a great idea since that’s what I was watching.  I can’t say whether If Sand Were Stone is fixable but killing the Spirits and letting the characters tell this story might be a fairly obvious start.

Emojiland (Production)

What really happens inside your telephone when a system update is about to occur to emojis?  That is the conflict successfully explored and hilariously exploited by Keith and Laura Nicole Harrison in their textistential new musical, Emojiland.  Princess (Lesli Margherita, always funny) currently rules the world inside your phone and we quickly learn that “Princess Is A Bitch.”  Many emoji favorites are characters here including Sunny, Skull, Smize (smiling face and smiling eyes) and Pile of Poo.  While it may seem obvious that characters like Weary and Worry have negative emotions, there is tension even inside the sunniest pals.  Skull, for example, sings “Cross My Bones and hope to die.”  When the update happens, one of the new emojis is Nerd Face, the catalyst for the plot.  The score is catchy and delicious Broadway pop, with a number of songs reaching classic character song greatness.  Angela Wildflower sings the exquisite “A Thousand More Words” beautifully (with welcome hints of the great Stephanie Mills).  Musical theater songwriters to put on your radar, the Harrison’s have written Nerd Guy and Smize for themselves.  Both are perfectly cast.  Emojiland is ready for prime time and I expect the built in fanbase to be large.  One plea:  can we add dancing lady in red dress emoji?  Please?

www.nymf.org

The New York Musical Festival is presenting 30 new works this summer.  In today’s blog I am going to discuss three readings.  A reading is simply a performance where the actors use scripts on music stands and the musical accompaniment is a piano with maybe one or two additional instruments.  In each case, the actors are fully engaged in performing a character and a reader fills in any necessary script detail.  As always, the subject matter variety at NYMF is evidenced with these three pieces in development:  conspiracy theories, spiritual gurus and coal miners in early 20th Century West Virginia.

Illuminati Lizards From Outer Space (Reading)

Conspiracy theories have been part of my life for a long time as my parents, despite being iron clad Roman Catholics, believe many of them.  The moon is an alien spacecraft is a more recent one.  They are not alone.  Millions upon millions believe stories that are unprovable and unverifiable; it’s the formula that makes religion tick.  Illuminati Lizards From Outer Space is based on the real (and googleable) theory that alien lizards rule us here on Earth.  Yuri Worontschak and Paul Western-Pittard are the creators of this outrageously silly, highly enjoyable, promising new musical.  A super dumb pageant queen loser (a brilliant Autumn Hurlbert) is tricked into helping the inept lizards conquer the human race.  Guy (a perfect Matt Allen) is the inky, sexually depraved lizard who proudly boasts he has two penises.  The duo between these two called “Spaced Out” is musical comedy gold.  The score is solid and the book still can be improved.  But the show is already fun, if not quite brilliant like Bedbugs!!!  I can easily see this show in a long-running cabaret where drinks are served and the audience can get their conspiracy kicks.  As the opening song promises, “we’re illuminati lizards and we’re comin’ to getcha.”

Healing Retreat: A Life of Joy (Reading)

When I read the title of this new musical, Healing Retreat: A Life of Joy, I presumed that this was not going to be my cup of new-agey tea.  In the opening song “Yoni-Lingham/Light & Love,” my fears were amplified to terror.  I listened to these words:  “You are the coral.  You are the pearl.  You are the seaweed gently dancing.”  Yikes.  Quickly the show turned into a goofy satire of spiritual retreats.  Promising!  The janitor of the retreat still has longings for the high school quarterback who happens to be a follower here now and previously picked on her nerdy husband.  A couple is splitting up but that’s not really explored.  Predictably, there is a gay coming out story.  There are some good songs but either the songs are too difficult to sing or the performers weren’t quite up to the challenge.  I think it’s the former as the vocal ranges required often left some sections off-key and/or pitchy.  “Share it with the Man on the Moon” was nicely sung and our nerd hero/anti-hero Ned (John Shartzer) had a great character song with the R&B flavored “Tonight I’m Barry White.”  The plot devolves into a chaotic mess as the spiritual retreat is threatened by multiple coup d’états.  I was rooting for Chris Eagle, played by Sean Mullaney, who seemed to strike the right tone for his character in this oddball concoction.  In the end, we learn that the secret of loving yourself is forgiveness.  All the ridiculousness for that?

Storming Heaven:  The Musical (Reading)

Near the end of Act I, the company performs the title song “Storming Heaven.”  The performers were ready to move ahead but the audience wanted to keep clapping and the show briefly paused.  That’s a really good sign for a new musical.  The audience is engaged, invested and appreciative.  This musical is based on a novel of historical fiction by Denise Giardina.  The plot centers around the coal miners of West Virginia in the early 20th Century leading up to one of the largest labor uprisings in United State’s history, the Battle for Blair Mountain.  This is a story of oppression by big business and indifferent government against the struggling common man who thinks a Union might be the answer to their struggles.  The score is excellent.  I made notes of the songs I particularly loved but the list is too long for here.  A great sign for a new musical.  The book is quite good, adding a few coloring details might enhance the depth of storytelling for these realistic, believable characters.  As an example, the dialogue leading into “I Can’t Help Remembering”  gets us to the song but we could perhaps hear a detail about the remembrance rather than just be told that it exists.  Nit picking perhaps but this show has the bones for bigger goals.  While I am at it, one more thing concerning the opening number, “Swing A Pick.”  Once you hear Bon Jovi’s “Wanted Dead or Alive” in the melody, it’s hard to unhear it.  Overall, this musical by Katy Blake, Peter Davenport, Tracy Lawrence (eight #1 Billboard country singles) and Flip Anderson is a winner.  One of the minor characters is an Italian woman whose immigrant husband is a miner.  If Storming Heaven’s book is pasta and its music is the sauce, then it’s nearly dinnertime.  The sauce is already delicious and the pasta is just shy of al dente.  A couple of minutes and it’ll be perfect.

www.nymf.org

Continuing my 2018 journey through the new musicals presented at NYMF, I’m struck by the topicality and relevance of the themes being explored.  During the last month, I found myself in the middle of a conversation between privileged white people who were quite annoyed by the confusion of gender identity labels.  I understand how hard it might seem to find pronouns so easily misunderstood these days.  Two musicals ask us to consider this conversation from a different point-of-view.  Perhaps rather than worrying about being criticized for calling someone a “they” instead of a “she” or a “he,” we consider applying some empathy (a sadly vanishing art) towards the individuals struggling through their complicated emotional development.

Interstate (Production)

Melissa Li and Kit Yan have written a solidly constructed musical about a lesbian and a transgendered poet (male identified) who have found success as a musical duo called Queer Malady.  Interstate asks and answers the question, “Can I make a life out of queer poetry?”  Interstate is the road tour journey these two (Jon Viktor Corpuz and Angel Lin) take across the United States.  Along the way, we meet their parents, record company executives, small minded locals and, most importantly, their online fans.  One of whom is Henry, a high school girl just coming to terms with her newly shared trans identity.  Sushma Saha inhabits Henry so completely that the emotional depth of the show is significantly deepened well beyond the semi-formulaic band-on-the-road trials and tribulations.  Her song “I Don’t Look” brings us deeply into her personal challenges.  The score is quite good and “Loser Dumplings” and “Everything Changes” were particularly fine.  Kudos to Andreas Wyder (radio talk show host, priest, drag performer) for outstanding ensemble character work.  Overall, Interstate delivers on its promise to flood the stage with empathy, inspiration and a large dose of heartfelt feelings.

Wonder Boi (Reading)

Another musical about transgendered youth, Wonder Boi adds a superhero element for an interesting juxtaposition between an indestructible self-healing body versus body image issues.  J. Jarrett wrote this musical and there are some effective songs such as “When He Flies” and “White Shoelaces.”  The plot, however, is wildly overwrought with a sister who is sort of a depressed nutty mad scientist.  Think Dr. Jekyll spliced into an afterschool special.  In this show attention is focused on gender defining labels and getting them accurate (the lecturing can admittedly be somewhat annoying).  The dialogue veers from fun to preachy and back again so I was never really invested in any of the characters.  Fun example:  “Am I Wonder Boi?  No I’m Wonder Boi?  That makes sense… you’ve always had a savior complex.”  But there are far more lines like:  “I’ve been homesick for a body I’ve never been in” and “you can’t blame your selfishness on being trans.”  Subtle metaphors stay away:  “Why is my Lemony Snicket book falling apart?  Why aren’t we built with better bindings?”  For me, Wonder Boi never achieved liftoff.

Pedro Pan (Production)

Rebecca Aparico and Stephen Anthony Elkins wrote this musical based on the real events of Operation Pedro Pan.  From 1960 to 1962, more than 14,000 Cuban children arrived in the United States without their parents to escape the growing fears of communist indoctrination.  Given today’s news cycle, Pedro Pan could hardly be more relevant.  What begins as a promising idea with Cuban flavor quickly turns generic.  “We Won’t Stand Out” could be a song in any show.  Peter Pan is Pedro’s favorite book and it is referenced throughout resulting in dialogue like “if only you believe then you can fly.”  One of his new friends is even named Wendy.  Thankfully the three friends have nice chemistry while they try to navigate the by-the-book schoolyard abuse.  One great multi-dimensional performance by Natalie Toro as Pedro’s Tia Lily provided some of the depth this material needed about the struggle of immigrants assimilating into American culture.  Pedro Pan considers our country.  “Isn’t America the land of immigrants?  Yeah, but only the kind they like.”  Both topical and timely, I wish I liked this show more than I did.

www.nymf.org

The New York Musical Festival is celebrating its 15th anniversary this summer.  NYMF “nurtures the creation, production and public presentation of stylistically, thematically and diverse new musicals to ensure the future vitality of musical theater.”  This year’s offerings include 12 full productions (usually five performances each with sets and costumes) and 9 readings (full casts with scripts).  NYMF fact:  four NYMF shows made it as far as Broadway:  [title of show], Next to Normal (NYMF’s Feeling Electric), Chaplin (NYMF’s Behind the Limelight) and In Transit (NYMF’s Along the Way).  Over the next four weeks, I am going to report what this year’s festival has to offer.

Legacy the Musical  (Reading)

Ambitious in its historical scope, Legacy the Musical imagines Martin Luther King Jr. taking Martin Luther through an analysis of his life while both men sit in purgatory.  We see Young Martin Luther in the early 1500s as he ascends from a monk to the most read German theologian of his time, aided by his translation of the Bible from Latin to German at the time of the Gutenberg printing press.  Many major life highlights are covered, not all of which put the founder of the Protestant Reformation in a holy light.  Even addressed is his anti-Semitic treatise On the Jews and Their Lies, later quoted extensively by Third Reich Nazi propaganda.  Legacy currently sits uncomfortably as a musical dramedy.  The story is serious but it tries a bit too hard to replicate the jauntiness of Hamilton, including the use of hip hop.  The emotions from Dear Evan Hansen are also noticeable in November Christine’s score.  Legacy feels like a good school age musical in its current form.  The choice of material suggests a darker edge (less silliness and easy laughs) might make this concept really fascinating and relevant in our era of overt political and religious manipulation.

Bad Ass Beauty:  The Rock Opera  (Production)

Laquinta Prince plays Alpha Female in the musical rock concert Bad Ass Beauty.  With her collaborators, she wrote much of the lyrics and co-wrote the music of this autobiographically inspired journey of her life.  We travel from her childhood to the development of her multiple coping personalities to relationships, career and band formation dynamics.  Two of her alter egos, Bad Ass and Beauty, help present this material in word and song.  Ms. Prince might best be described as a buxom, long haired Oprah Winfrey in a cougar patterned bra.  She is a formidable stage presence.  Why Oprah?  “You never told me that you loved me, you no longer have the title Daddy.”  “No one wants to be alone.”  “I’m so broken, I try not to show it.”  Thankfully, it’s not all super-serious:  “I took to that gig like an 80’s band takes to distortion pedals.”  Bad Ass Beauty presents some interesting ideas and has conviction.  To reach the next level, the various internal personalities (including the Four Horsemen alter egos) need to be more fully developed.  The score decently rocks but is not nearly as memorable as Alpha Female’s vocals.

Brad Knows Nothing (Reading)

The first scene of Brad Knows Nothing takes place in history class where Brad is sleeping through another student’s presentation.  Through song we learn that he wants to be a hero.  First, however, he has to convince his teacher not to fail him.  Brad concocts a storybook journey as Bradimus and, along with his sidekick, Chadmire, they time travel and mash up history.  King Arthur and Guinevere, Helen of Troy and Jesus all participate in this improbable yet rollicking adventure.  Laughs are plentiful and this reading is particularly well-staged by Ryan Emmons.  Jacob Ben-Shmuel (Chadmire) and Alan Blake Bachelor have written some quality character songs, especially I Want (To Be a Knight) for Guinevere and A Few Small Adjustments for King Arthur (Destinee Rea and Robert Lee Toms, both excellent).  As this show continues to develop, the long denouement needs to be tightened as this high energy exercise drags towards its redemptive conclusion with repetitive messaging.  A fine cast and ensemble have nicely showcased a promising, funny musical in development.

www.nymf.org