BWW Reviews: Stages' ROAD SHOW is Unfulfilling Despite Impressive Performances

Stephen Sondheim and a Book by John Weidman. The musical premiered in 1999 under the title WISE GUYS at the New York Theatre Workshop, but a legal case held up further production. A significantly rewritten version of the musical, entitled BOUNCE, premiered in 2003 at the Goldman Theatre in Chicago. BOUNCE then ran at the Kennedy Center in Washington D.C. with the Chicago cast where mixed-to-negative reviews kept it from being produced in New York City. In 2008, another rewritten version of the show, now entitled ROAD SHOW, opened Off-Broadway at The Public Theater's Newman Theater. This new, streamlined version removed the lead female character of Nellie, who had been added for the 2003 incarnation, and took out the intermission. The title change also reflected John Weidman's desires and hopes to better hone the show's story and themes.

The musical is based on the Mizner brothers, Addison and Wilson, as they adventure across the United States near the turn of the century. Following the death of their father, the duo journeys from their California home to the Yukon region in the late 1890s in search of gold. There, Addison works hard on the claim, discovering a strong work ethic. Wilson discovers a penchant for gambling and conning others. As their journeys continue Wilson's conman instincts and charm always finds a way to be disastrously harmful while Addison's hard work and ethics seem to save the duo from complete annihilation.

Entering the theatre for the press opening on Friday night, the electricity and excitement was palpable. Concerning ROAD SHOW, the Houston audiences only had speculation about what the team that created ASSASSINS had in store for us. While the performances on stage were incredibly enjoyable, I found the writing to be so weak and malnourished that it crippled the production. John Weidman's book is strikingly thin, not allowing for much character development. There are salacious moments of incestuous desires and wide swaths of hedonism and overindulgence that only serve as filler. Maybe these moments are remnants of humorous moments when the show was a grandiose, over-the-top exploration of American excess called BOUNCE? Likewise, Stephen Sondheim's lyrics are not always as rich as we see in his other works. In the longer, more expository songs they truly only serve to give the audience step by step narration. In the long run, the audience gets a 90-minute musical that tells a tale without affecting us much. The motive of the writing seems to only serve moving the journey down the road and forgets to dig into the stirring and richly dark undertones that are hinted at throughout the production.

Despite the flimsy material, Kenn McLaughlin's Direction is solid and intriguing. He has casted each role with perfection and adds as much definition as possible to the arcs the characters traverse. He clumps on sincere and genuine handfuls of lean narrative muscle wherever he can, fleshing out the skeleton given to him by Stephen Sondheim and John Weidman. He coaches his cast through devastating lows that do affect somewhat, especially as furniture crashes to the ground and voices are elevated. Moreover, he has staged the musical well, creating some fascinating and impactful visual imagery in the production. The way death is staged with the dying character carrying off a solid white suitcase at the beckoning of a woman in a black veil is brilliant and inspired. Sadly, the writing doesn't match the purposeful and well-constructed intensity of the direction or acting, which ultimately left me feeling empty throughout the evening.

Musical Direction by Steven Jones is phenomenal. He and his small band of musicians skillfully play Sondheim's complicated and sumptuous score with gorgeous precision and intonation. It is astounding that he and four other musicians create the full sound of the intricately complex music the audience hears. Moreover, he has coached the cast to sing vividly throughout the piece. The ensemble blends with opulent clarity, creating a wall of sound that is startlingly gorgeous. Each solo and lead is sung with purpose, passion, and meticulousness as well. The voices and instruments, under Steven Jones' skilled baton, easily were the most affective and mesmerizing aspects of the production.

Addison and Wilson Mizer are masterfully played by L. Jay Meyer and Tom Frey. The familial bond, love, competition, and loathing between the two men is tangible. Even when their roads intersect, it is clear that each of the men is on a path of his own. L. Jay Meyer's Addison Mizner seemingly represents the best aspects of our dreams and of the American dream itself. He imbues his performance with an industriousness that is needed to make something of your self in this country. Tom Frey's Wilson is the representation of the downfalls of avarice. He creates a character that relies on his charisma and beguiles his way to fortune, but when it's gone he has nothing to show for it.

Michael McClure's portrayal of Hollis Bessemer is alluring and heartfelt. The love he has for Addison is authentically amiable. Michael McClure handles the disillusionment of Hollis immaculately, stealing the breath of the audience as his and Addison's romance unravels.

Susan Shofner is supportive and nurturing as Mama Mizner. She longs for her sons to earn the best that life can offer them with her cheerful encouragement of their adventures.

Papa Mizner is enchantingly played and sung by Jimmy F. Phillips. The character dies early on, but he returns as a shade throughout the show to grippingly interject his displeasure at the poor decisions made by his sons.

The ensemble, comprised of Cameron Bautsch, Bridget Beirne, Hunter Frederick, Sarah Myers, Amanda Parker, Amanda Passanante, Thomas Prior, and Brandon Whitley, do incredible jobs with their many roles. They enthrall and entertain with ease. Likewise, each one is a skilled vocalist and does a marvelous job blending with one another and the band to create stunning harmonies and intricate chords.

Laura Fine Hawkes Scenic Design extraordinarily creates a composite of many different architectural styles that mix together to form impressive visual landscapes. Disappointingly, the seat I had for the performance was on the left side of the thrust, which almost entirely blocked slight aspects of the set from my view, such as the large upstage door and the projections of Boca Raton mansions.

Jeremy K. Benjamin's Lighting Design is incredibly complex, picturesque, and radiates with ingenious brilliance. He uses color to play up the emotionality of the scenes and to illuminate aspects of the set that pertain to the individual scenes.

Sound Design by Andrew Harper ensured that every sound is mixed together at perfected volumes. Last night's performance was marred somewhat by a malfunctioning microphone that decided to make Tom Frey sound as if he was down a well; however, Yezminne Zepeda, operating the Sound Board, made some strong decisions to correct the problem and Tom Frey's skillful projection ensured he was heard when his microphone was off.

Costume Design by Kris Hanssen, with assistance from LA Clevenson, is dazzlingly spectacular. The cuts and styles beautifully recreate turn of the century fashions. Additionally, the colors used are often cleverly telling of the characters' personas.

Jodi Bobrovsky's Property Design is incredible as well. The use of solid white suitcases is outstanding. Other small touches, like the handcuffs on the wrist of Brandon Whitley's Jockey during the number "Waste" is an imaginative and smart touch that captures the attention of the audience and is explained later during "That Was a Year."

Stages Repertory Theatre's superbly acted and extraordinarily sung presentation of ROAD SHOW makes for a compelling evening of theatre. The work of the talented cast and crew is faultless and consummately professional, which guarantees that the audience is entertained. Unfortunately, the slender book and plot only leave the audience deflated. Usually the name Stephen Sondheim is a solid guarantee of theatrical genius, but the Mizner brothers capably fritter away that advantage.

ROAD SHOW runs in Stages Repertory Theatre's Yeager Theatre through June 30, 2013. For more information and tickets, please visit http://stagestheatre.com or call (713) 527 - 0123.

Photos by Bruce Bennett, courtesy of Stages Repertory Theatre.

L to R: Michael McClure, Tom Frey, and L. Jay Meyer

Ensemble in Stages Repertory Theatre's ROAD SHOW.

L to R: L. Jay Meyer as Addison and Tom Frey as Wilson Mizner.

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