“Please, God, please! Don’t let me be normal.”
This famous bit of a monologue from The Fantasticks, by Tom Jones, has been much on my mind because of a persistent worry: That my musical may be too ordinary. The characters are hardly larger than life; they face problems that all sorts of people face every day. So, is my show too mundane to entertain?
Perhaps you’re thinking, right now, “Of course not” – this is a silly fear to have. And yes, I’ll admit that quite a few of my fears fall on the silly side of things. But I’ve seen a new Broadway musical in which each iota of plot is so expected, so everyday, so the-sort-of-thing-we’ve-seen-a-million-times-before that it seems utterly doomed by its own lack of imagination. In Transit is an original musical that marks the Broadway debut of each of its four creators, Sara Wordsworth, Russ Kaplan, James-Allen Ford and Kristen Anderson-Lopez. Of these, only the latter is famous, an Oscar-winner for her lyrics to the most-sung song of the current century, Let It Go. (If you don’t believe Let It Go is the most-sung song of the current century, you must not have a daughter under the age of 10.) I like the fact that these are musical theatre writers, who’ve honed their craft for many years, veterans of the BMI workshop, and not some neophytes from other fields. Many years ago at the York’s annual NEO Concert of songs from new works, they and I were each included. So, I was predisposed to like In Transit, think of them as kindred spirits, and it’s playing in the theatre where I work, Circle-in-the-Square.
So there’s a single woman who’s unable to get over the ex who dumped her months ago. She still e-mails, texts, contrives to bump into him. All of this is intelligently rendered, and would be fine IF WE HADN’T SEEN IT A MILLION TIMES BEFORE. Luckily, that’s not the only plot line. There’s an actress who’s growing weary of waiting for her big break, working as a temp, and I might have sympathized with her IF I HADN’T SEEN IT A MILLION TIMES BEFORE. There are certain things about In Transit that are fresh, haven’t been done on Broadway, but there’s also the gay groom who’s having trouble coming out to his mother. Say it with me, now: SEEN IT A MILLION TIMES BEFORE.
What’s original? The fact that there’s no orchestra. A cappella vocals have become a hot genre over the past decade or so, and accompanying soloists with a collection of rhythmic Doos and Baos is something you haven’t seen on Broadway before. Off-Broadway, you have. My wife cast an amusing show called Voca People, and long before that there was Avenue X (1994), which shouldn’t be confused with Avenue Q, co-written by Kristen Anderson-Lopez’s husband. Pause to say something positive: It’s a neat trick. You don’t miss instrumentalists, but your ear quickly adjusts. After the opening number, you go, “Oh, that’s what this is going to be.” and then your focus goes back to the plot. And then you go “Oy.”
There’s a fourth plot, about a handsome Wall Street type who loses his job. This is far fresher than the other three plots, and I held out hope that the show would have something to say about White Privilege, that the good-looking guy has doors open to him that someone who looks different wouldn’t. The cast of In Transit is multi-ethnic; we even meet a black ice hockey fan. But nothing in Subplot Four had any sort of an edge. His phone is turned off when he can’t pay the bill, so he misses an important call. That is exactly as dramatic as it ever gets.
We who think about the effectiveness of theatre pieces often talk about unearned moments. One of the characters has a series of conversations with a kind and philosophical street musician. Towards the end of the show, he lays a rather common Zen concept on her and she looks at him as if all her life problems are suddenly fixed. Then the entire cast pops out to joyously warble an energetic setting of this precept. This is precisely what is meant by an unearned moment. The character hadn’t evolved, the wisdom being passed was far from profound, and so the hallelujah chorus rang hollow. In a ninety-minute show, sans intermission, you don’t have time to waste on hollow moments, and this wasn’t the only one during the denouement.
The shame, here, is that so many other elements of this show are competent, and even appealing. There were songs to admire, plenty of good performances, and one outlandish costume gets a hand. I found a video of its 2010 staging off-Broadway, and you get the sense that, for the prices charged by a little theatre way back then, In Transit might be a worthwhile way to spend an hour and a half. For Broadway prices today, something more than a collection of clichés is needed. “Please God, please: I paid well over a hundred dollars. Don’t let it be normal.”