Interludes

VIEWPOINTS – A summer of totally “new” musicals: THE GOSPEL ACCORDING TO HEATHER, IN CORPO, LIZARD BOY, WALKING WITH BUBBLES

• By drediman
• July 18, 2023
• No Comments

For a number of years now, Broadway has played host to an increasing number of musicals based on recognizable brand name properties culled from popular culture — whether it be fan favorite films or the songbooks of beloved pop music artists. However, those bemoaning the state of truly “new” musicals need look only slightly beyond the Great White Way at New York’s resilient Off-Broadway scene, where one can encounter dedicated theater-makers devoted to the creation of conceptually exciting new works of music theater. Indeed, this summer season alone has seen a slew of patently new musicals. Here are my thoughts on them.

THE GOSPEL ACCORDING TO HEATHER
Amas Musical Theatre at Theater 555
Closed

First up at Theater 555 is Amas Musical Theatre’s production of The Gospel According to Heather (RECOMMENDED), which ended its run at Theater 555 last weekend. Written by composer-lyricist Paul Gordon (perhaps best known for his 1995 musical adaptation of Jane Eyre), the work features an outrageous plot concerning the second coming of the New Messiah in the form of a precocious and quirky teenage girl. Giddily mashing the popular genres of the high school musical and the religiously bent musicals, the result is an often exuberant but ultimately uneven parody of both. Admittedly, much of Gordon’s bouncy score is quite catchy, even if some of the performers register more strongly than others. Luckily, the world premiere production is led by Brittany Nicole Williams, who delivers a confident and immensely charismatic performance in the title role. Also notable is a delicious, crowd-pleasing turn by cult television icon Katey Sagal.

IN CORPO
The Assembly Theater Company at Theatre Row
Closed

Somewhat less successful at Theatre Row is Ben Beckley and Nate Weida’s curious, wildly uneven new musical In Corpo (SOMEWHAT RECOMMENDED), courtesy of The Assembly Theater Company. Conceptually, the work is both a parodic cautionary tale about societal systems, as well as an all-out sci-fi thriller (drawing loosely from literary works like Franz Kafka’s The Castle and Herman Melville’s Bartleby the Scrivener) — a fascinating premise that’s a far cry from your typical musical theater material. Despite its aspirational innovation, Nate Weida’s musical composition is a head-scratching and awkward mix of Philip Glass experimentalism and tried and true musical theater vernacular. And while the physical production is striking — indeed, the design work is perhaps the most accomplished aspect of the show — the piece overall (e.g., the book, the performances) lacks cohesiveness and specificity, ultimately failing to realize its potential.

LIZARD BOY
Prospect Theater Company at Theatre Row
Closed

Also settling in for a summer run at Theatre Row is perhaps the most successful of the lot — Prospect Theater Company’s new musical Lizard Boy (HIGHLY RECOMMENDED) by Justin Huertas, a notable young talent credited for penning both the show’s book and score, as well as starring in the title role. With a driving, tuneful alt-rock score (think Weezer) and an inspired and inventively constructed book (with strong nods to both queer and comic book cultures), the work is a wild and thoroughly enjoyable ride that defies expectations at every turn. Although the musical only features three performances, Lizard Boy feels much more expansive thanks to the articulate and animated direction by Brandon Ivie (kudos particularly to the excellent sound, lighting, and projection design) and the multi-tasking efforts of the stellar cast (joining Huertas are Kiki deLohr and William A. Williams).

WALKING WITH BUBBLES
AMT Theatre
Through September 10

Last but not least is the affecting solo musical Walking with Bubbles (RECOMMENDED), which continues its run at at AMT Theater. Written and performed by musical theater actress and cabaret regular Jessica Hendy, the autobiographical work tells the dramatic and unlikely story of Hendy’s own family (particularly her relationship with her husband and son), charting her heartbreaking and ultimately uplifting journey from shame to acceptance and ownership of her situation (no spoilers here!). Featuring a warm score (music and lyrics have been penned by Brianna Kothari Barnes) and a beguilingly open, deeply personal performance by Hendy, the piece — which has just been extended through September 10 — proves just how potent the solo musical form can be.