Interludes

2013’s Best in New Musicals

• By drediman
• January 10, 2014
• 1 Comment

2013 was great year for new musicals, not necessarily on Broadway (where musicals are most closely associated). Like new plays, productions of new musicals found a more nurturing home Off-Broadway. Exciting, less commercially viable new musicals such as “Fun Home” and “Natasha, Pierre, and the Great Comet of 1812” thrived far away from the glitz of the Great White Way.

(Note: the list below is in alphabetical order)

1. Disaster! A ’70s Disaster Movie Musical

“Disaster!” was, hands down, the funniest, zaniest musical I saw all year.  It was also one of the most winning and wittiest, to my very pleasant surprise.  Despite being staged on a shoe-string budget, this unsinkable (please forgive the pun!) show was irresistibly unrelenting in its exploitation of cliched disaster movie scenarios.  It was performed by a number of musical theater veterans, including the likes of the ridiculously funny Mary Testa.  I left the theater on a funny bone high.

2. Fun Home

The Public Theater is on a roll these days, producing two of the best new musicals I saw last year.  First and foremost is Jeanine Tesori and Lisa Kron’s aching musical adaptation of Alison Bechdel’s graphic memoir of the same name.  Tesori’s music and Kron’s lyrics brought great insight and texture to Ms. Bechdel’s coming of age story.  The cast was top notch, including pros such as Michael Cerveris and Judy Kuhn. But it was the trio of actresses who portrayed Alison (in different stages of life) that brought heartbreaking poignancy and spunk to this important new musical.

3. Here Lies Love

The Public Theater also scored big with the infectious musical, “Here Lies Love”.  Set to the catchy disco-inflected score by David Bryne, the show chronicles the rise of infamous former Philippine first lady, Imelda Marcos. The show was ingeniously set by director Alex Timbers in a Manila disco and is a prime example of the fascinating trend towards “immersive theater” (also see “Natasha, Pierre, and the Great Comet of 1812” below).  The hard-working cast, a good majority of which was comprised of Filipino-Americans, performed the piece with aplomb and were clearly having tons of fun.

4. Kinky Boots / Matilda

Although most of the exciting work in new musicals was done  away from the spotlight of Broadway, two very fine, high-profile new musicals arrived on the Great White Way in 2013.  “Kinky Boots” features a wonderful pop score by Cyndi Lauper and a Tony-winning, star-making turn by Billy Porter as the irrepressible Lola. “Boots” also featured excellent character-driven direction and choreography by the talented Jerry Mitchell.  “Matilda”, although quite pedestrian in its first act, was transcendent in the second act. Bertie Carvel gave a memorably delicious performance as the malevolent headmistress, Miss Trunchbull. These two musicals appear to be set for long, healthy runs, and deservedly so.

5. Natasha, Pierre, and the Great Comet of 1812

It’s hard to begin to describe the extraordinary “Comet”. The show is an electro-pop musical adaptation of a short segment of “War and Peace” and is staged in an immersive nightclub environment (specially built for the show). Dave Malloy’s driving, soulful through-composed score is a wonder to hear, and it’s performed passionately by a committed company of ridiculously talented young actors/singers. Big kudos also must be given to director Rachel Chavkin, who’s  vibrant, innovative direction is a big reason for the show’s success. The immersive “Comet” is a game-changing musical.