OFF-BROADWAY REVIEW
ROAD SHOW
Reviewed by David Sanchez
Published 2008-11-21
The American Dream. As we prepare to enter what many Americans see as a revolutionary time for our country, it makes sense that one of the most revolutionary musical theater creators has written his latest show about this very thing. Opportunity , glory, optimism - all of these things we seek to attain right now were just burgeoning at the beginning of the 20th century.
Road Show, the latest from Stephen Sondheim, follows the exploits of two brothers. Addison, the elder, more sober, of the two, is charged with making something with his life. His dying father's wish is to be made proud, to uphold some lasting memory or legacy, by moving forward into the bright future that the American Dream promised. Wilson, his younger, much more flamboyant and freewheeling brother takes that charge and turns it on his head. In one of the more memorable songs (at least upon a first sitting with any of Sondheim's work) is called "The Game" in which Wilson tells his more serious brother that it's not so much the attainment of something grand. Rather, it's the gains and losses, the extreme states of plenty and poverty, whether economically, spiritually, or morally. With these two extremes, the play is cocked and loaded for conflict.
In the program note by Oskar Eustis, The Public Theater's Artistic Director, he states that "In America, it's never easy to tell the difference between optimism and opportunism. The very energy that makes our nation so resilient can also lead us into dark and deceptive places." It's this tension that is at the very center of the show. Surely, the espousment of something high and glorious and morally righteous is there, but gosh darnit, Wilson "glides" as his mother sings. And his numbers are just so darn fun.
This show from musical theater's Shakespeare (at least I think so) is tantamount to the bard's own King Lear, at least in chronological order of writing. So expectation are high. For a show like Road Show, which has had a tough journey full of its own highs and lows just like the brothers, the foundation is there; and yet, for what is a clever and certainly well produced show, the show lacks a whole emotional center or movement. Much is left on the surface despite some beautiful numbers, "Isn't He Something", a vindication ballad of Wilson 's actions and misguided deeds, notwithstanding.
The performances all around are top notch. Audiences will not be disappointed. Alexander Gemignani as the pragmatic yet soulful Addison is earthy, soft, yet full of nuance. Michael Cerveris as Wilson Mizner is a crackling performance. Mama Mizner and Papa Mizner as played by Alma Cuervo and William Parry give us sound performances even if their characters might be a bit overused at times. Lastly, Hollis Bessemer as played by Claybourne Elder, is earnest and youthful, everything you would expect. It's a serviceable performance though at times you can hear the young performer straining to hit some of the high notes. It never really matters much to Sondheim though how well an actor can sing so long as he can do it with feeling, and Mr. Elder does so in spades.
The play is certainly one to see for any Sondheim fan. They will hear all the familiar musical tropes such as glory trumpets (seemingly pulled straight from Sunday in the Park with George) and the punched out rests and stops to make a point. Some of it seems downright derivetive without seeming fresh, while other songs are a breath of fresh air. The book and the story feels a bit thin, which is one of the effects of a biopic piece that strives to tell a good portion of a life story. Audience members may walk out tipped in the direction of thoughtful and not so much moved. This may not be such a bad thing considering the subject matter and the all the heavy lifting this country has to do over the next 4 years. It's an opportunity that perhaps Mr. Sondheim himself was trying to grab hold of, even if he never reaches it completely. But as the two brothers say at the end, maybe at some point they'll get it right, which is a commentary perhaps on the show itself and the composer. How could he give up on this show with so much glory, optimism, and success at his back? It's an opportunity that is too tempting to pass up, even if they miss the mark slightly.
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