The Beast in the Jungle

C+

The last time composer John Kander, book writer David Thompson and director/choreographer Susan Stroman worked together at the Vineyard Theatre, the result was the critically acclaimed The Scottsboro Boys, which went on to Broadway where it had the dubious distinction of being nominated for 12 Tonys but winning none. That production had the added benefit of lyrics by the late Fred Ebb. This time out, what the creative trio has come up with is not a traditional musical, but a “dance play” with no lyrics and relatively little dialogue. Since Stroman’s last dance play was the Tony winner Contact, the return to that form sounded promising, especially with a cast led by Peter Friedman (The Slug Bearers of Kayrol Island, The Treasurer), Tony Yazbeck (On the Town) and Irina Dvorovenko (On Your Toes at Encores). Alas, the sum of all these talents does not approach the level of either previous collaboration. The inspiration for the book is Henry James’ well-regarded novella about a self-centered man so fearful that some terrible event will upend his life that he does not allow himself to be open to love. Since the tale by James is long on psychology but short on events, Thompson had his work cut out for him to turn it into a viable book. He did not hesitate to add new characters and events to liven things up. Stroman had varying success in selecting aspects of the story that could be told through dance. Some of the dance numbers are quite effective while others are embarrassingly kitchy. The chorus of six female dancers often seems superfluous. Kander’s music made surprisingly little impression on me. The scenic design by Michael Curry (The Lion King, Frozen), sensitively lit by Ben Stanton (Dot, The Low Road), has some striking elements. The three leads as well as Teagle F. Bougere (Is God Is) all perform well. Much as I admire all involved for their efforts, I regret to say that I found the results underwhelming. Running time: one hour 45 minutes, no intermission.

The Lion ***

Benjamin Scheuer, the talented singer/songwriter who wrote this autobiographical one-man musical at Manhattan Theatre Club's Stage II, is a most appealing performer. With his mop of chestnut hair,  open face, charming smile, strong voice and phenomenal guitar technique, he wins the audience over almost instantly. In this cycle of 15 songs lightly interspersed with conversational remarks, he charts the course of his life from the age of 8 when his father built him a toy banjo out of a cookie tin. The lifelong love of music his father instilled has served him well through a series of traumas that include losing his father when he was 14, being uprooted to England for the next four years, finding and losing love upon his return to New York, and suffering a near-fatal illness. How he finally resolved his conflicted feelings about his father and became his own man both personally and musically is a central theme. Neil Patel's simple set with two chairs, a table and seven guitars is sensitively lit by Ben Stanton. Sean Daniels's direction keeps things on an even keel, skillfully avoiding the maudlin or sentimental. The extravagant praise by the critics raised my expectations a little too high, but I nevertheless enjoyed the evening. The enthusiastic audience was much younger than the usual MTC demographic. Running time: 70 minutes, no intermission.

Murder Ballad **

(Please click on the title to see the complete review.)
This through-sung rock opera by Julia Jordan and Juliana Nash, which received positive reviews at Manhattan Theater Club Stage II last year, has reopened at the Union Square Theater, which has been reconfigured for the occasion. Traditional seats in a U surround a central area set up as a bar, complete with pool table and cabaret seating for those who want to be in on the action. The four characters are lovely Sara (Cassie Levy), who, after a tempestuous affair with hot bartender Tom (Will Swenson), settles for marriage to Michael (John Ellison Conlee), an older, less photogenic professor of poetry. (Too bad the professor wasn't available to assist with the lame lyrics.) When Sara gets the seven year itch and resumes her affair with Tom, there's trouble, as sexy narrator (Rebecca Naomi Jones) tells us. I wish I could join the chorus of praise for the show, but it did not engage me at any level. The tabloid-worthy tale, the deafening music, the pointless running to and fro and standing on chairs were turnoffs for me. I did not particularly care who would be murdered or who did it. The performances are energetic and the voices are fine when they can be heard over the musicians. The large set, designed by Mark Wendland, diffuses the action too much. Jessica Pabst's costumes are apt. Ben Stanton's garish lighting in neon colors is bilious. Trip Cullman's direction seems to be based on the idea that if you keep the actors running around enough, no one will notice the thinness of the material. I might have liked it better had I not seen the other far better environmental pop opera ("Natasha, Pierre and the Great Comet of 1812") first, but I doubt it. Fairness compels me to state that most of the audience seemed to be enjoying it. Running time:  80 minutes without intermission.