Five Points was a 19th century neighborhood in lower Manhattan notorious for being a densely populated, disease-ridden, crime-infested slum. In the middle of the century, the two predominant groups in residence were black people emancipated from slavery and Irish immigrants including those fleeing the potato famine. Paradise Square is a fictionalized Broadway musical loosely connected to this history.
While tensions existed between these two disparate groups, Five Points is considered one of the earliest examples of willful racial integration in America. Classic ills of urban destitution were rampant such as infant and child mortality, unemployment, prostitution and violent crime. The show does not completely ignore all these aspects but a more palatable vision is suggested.
The inspiration for Paradise Square seems to be an African American dance hall named Almack’s. Here is where a fusion of Irish reels and jigs met the African shuffle. Competitions between the styles on the streets spilled into the dance hall. From this, tap dance was born followed later by other music hall genres. This amalgamation is where this musical plants its flag.
Nelly O’Brien (Joaquina Kalukango) is the proprietor of a saloon left to her by her deceased father. She is married to an Irishman named Willie (Matt Bogart) hence the Irish surname for a black woman. Her brother is Reverend Samuel Jacob Lewis (Nathaniel Stampley) who is married to the white Annie Lewis. In this Disneyesque world, integration has been completed.
There are many characters and storylines. Some of the Irish men go off to fight in the Civil War. An young man emigrates from Ireland to join Aunt Annie. Corrupt and sleazy politicians rule the town. A mysterious piano player needs a job. Two slaves escape via the underground railroad. Helpful lesbians are present. In order to raise money, there will be a dance contest at the bar. The material is not uninteresting but the unfocused book by three authors has no cohesive focus. Plodding is an apt descriptor.
Jason Howland’s music is occasionally tuneful, often generic and occasionally bizarre. One of the dance contest moments sounded like it was lifted directly from the 1970’s. The lyrics are largely forgettable. Ms. Kalukango has a huge 11:00 number called “Let It Burn”. This actress knocks the song out of the park but don’t be surprised if you start singing “Let It Go” from Frozen on your way out the door. Just substitute the word burn for go. Paradise Square is that formulaic.
After an opening which sets time and place similarly to many musicals, a couple of songs and moments were attention grabbing. “Camptown Races” begins an exploration of minstrel songs and the legacy of Stephen Foster. White people stealing black culture for profit is one of the many underdeveloped sidelines here. The next song was a nice ballad “Since the Day That I Met You”. The saloon owner and her husband establish their bond.
The dancing is often exciting so Bill T. Jones’ choreography adds a positive element to sustain some level of interest but it becomes repetitive. The movement often invokes stomping which I thought was intended to take our attention away from the dull songs.
The direction (Moisés Kaufman) of the whole production is flawed. The ensemble is carted out frequently standing idly. The set rotates in and out; around and around. A fake baby is carried by various cast members in a number of scenes meant to suggest families I suppose.
The fatal flaw in Paradise Square is that the show is so very boring. Act II is interminable. The big solo at the end of the show does bring down the house but why is everyone on the stage staring at the audience for so long? It looks idiotic and frankly distracts from the major highlight of this musical.
Many performances rise above the fray. In addition to the leading lady, Chilina Kennedy’s spunky Annie is a tough gal treat who needs more to do in this crowded plot. A.J. Shively is fine as the fresh faced Irish immigrant Owen. Sidney DuPont also has good moments as Washington Henry, the slave on the run.
There is a scene in this show consisting of the sleazy politician Frederic Tiggens (John Dossett) and his “Uptown Men”. There cannot be another moment in this theatrical season more cringeworthy that this one. Both sidekicks act like cartoon villains with broad caricatures and imbecilic physicality.
Paradise Square is a very bad production about a fascinating slice of the grimy evolution of New York City and the American experiment in general. After the riots (there are always riots prompting change) the African American community went uptown to Harlem and the racial integration moment passed. At its end this musical proposes that for a brief moment in time this social phenomena was a grand utopia. That is certainly debatable. What’s not debatable is buying a ticket to other far, far better expensive entertainments in town.
Paradise Square is running on Broadway at the Ethel Barrymore Theatre.