Escape to Margaritaville

C-

Maybe it was the long, cold winter that made the idea of a vicarious escape to a Caribbean island for a couple of hours seem irresistible. So, when this jukebox musical of Jimmy Buffett songs turned up on TDF, I decided to take a chance on it. When I arrived at the Marquis Theatre, many audience members were wearing tropical shirts and quite a few were sipping margaritas from the lobby bar. (I reluctantly abstained so as not to dull my critical faculties.) The tropical theme of the scenic design overflowed into the auditorium. The show itself is a collage of 29 Buffett songs strung together by a simplistic, thoroughly predictable book by Greg Garcia (“My Name is Earl”) and Mike O’Malley ("Shameless"). There are sporadic efforts to be timely with mention of Sheryl Sandberg and Russian internet interference. The integration of the lyrics and the action ranges from clever to clunky. Buffett’s music has slightly more variety than I expected, but the songs became a blur long before reaching #29. The saving grace is that they are performed by an attractive, talented cast. Tully (Paul Alexander Nolan; Bright Star) is the resident singer/guitarist at a seedy island resort run by Marley (Rema Webb; The Color Purple). Brick (Eric Peterson; School of Rock), is the dim but kindhearted bartender. J.D. (Don Sparks; Take Me Out) is the one-eyed geezer who regales bar patrons with tall tales. Jamal (Andre Ward; Something Rotten!) is the dishwasher/handyman with one arm in a sling. Among the arriving guests are Tammy (Lisa Howard; It Shoulda Been You), on a bachelorette trip before her impending wedding to an unappreciative lout, and her best friend Rachel (Alison Luff; Les Miserables), an uptight environmental scientist interested in the island’s volcanic soil. By evening’s end three couples will pair off and you don’t need an advanced degree to figure out who. Walt Spangler’s (Tuck Everlasting) set and Paul Tazewell’s (Hamilton) costumes are appropriately garish. The highlight of Kelly Devine’s (Come from Away) choreography is a lively tap number for a group of insurance agent ghosts (Don’t ask!). Director Christopher Ashley (Come from Away, Memphis) has included a few nice touches that include flying effects and dancing clouds. It all goes down very easily, probably even more so with a few margaritas. I’m still not sure whether anything this mindless can fill a large theater at Broadway prices. A shorter version would be perfect as cruise ship entertainment. Running time: two hours 20 minutes including intermission.

Matilda the Musical ***

Except for “Oliver” and “A Christmas Story,” I have not cared for musicals with lots of children in them. That plus high ticket prices kept me away from this hit from London for a year and a half. However, when orchestra seats for under $100 became available, I decided to give it a try. The production values are top of the line. Rob Howell’s set design is one of the cleverest I have seen in several years; his costumes are fine too. Peter Darling’s choreography is spirited and often ingenious. The direction by Matthew Warchus is seamless and assured. The producers have kept the show in fine shape despite multiple cast changes. The current cast is quite good. Christopher Sieber is a hoot as Miss Trunchbull, Alison Luff makes a sympathetic Miss Honey, and Matt Harrington and Lesli Margherita are delightfully over the top as Mr. and Mrs. Wormwood. Matilda was played at my performance by Eliza Holland Madore, a tiny powerhouse. The other children and the secondary adult roles are well cast too. The curtain call number was among the best I have seen. So why did I admire the show more than I liked it? Roald Dahl’s story didn’t really engage me, at least not as presented in Dennis Kelly’s book, and Tim MInchin’s music and lyrics seemed merely serviceable. I liked it better than I expected to, but found it a bit chilly at its heart. Running time: 2 hours, 35 minutes.