IF/THEN's Stunning Performances Intrigue Nashville Audiences

Who would have ever thought a musical about urban planning could be as effective and engaging, and as thoroughly compelling (if somewhat confusing and confounding, by turns) as If/Then, the latest work from the Pulitzer Prize-winning (for next to normal) duo of Tom Kitt and Brian Yorkey?

Now ensconced at TPAC's Andrew Jackson Hall through Sunday, June 12 (Tony Night!), the musical - originally conceived as a vehicle for Tony-winner Idina Menzel and, truthfully, about a whole lot more than urban planning - is a New York-centric examination of the different paths one takes based upon a split-second decision, an afterthought if you will, that closes one door, only to open another window on life, to leave you wondering "what if?" Kitt and Yorkey's musical allows you to witness just such a conundrum via the life of Elizabeth, an intelligent yet unfulfilled woman (she's passionate about a career in urban planning) in her late 30s, who after a divorce (and a stultifying decade in Phoenix) has returned to New York City in search of herself and a life worth living.

The plot is intriguing, to be certain, but in retrospect isn't nearly so innovative as the creators would probably have you believe. At first blush, If/Then doesn't seem particularly timeless nor is it genre-challenging. Instead, this relatively new musical (it was first performed in Washington, D.C. in 2013) seems very much "of the moment," exemplifying this particular period of time with authenticity and a sense of unrelenting style.

When first we meet Elizabeth (played with grace and immense likability by Broadway veteran Jackie Burns, whose powerhouse vocals will rivet you in your seat), she's newly arrived back in her old stomping grounds of New York, meeting two friends for a Sunday in the park. The plot's contrivance - we're escorted musically on a journey through the life of "Liz" and "Beth," two intertwined, yet somehow very different aspects of Elizabeth's nature and personality in order to consider the impact of two different choices upon her life and the people around her - may be off-putting or even confusing initally, but if you give yourself over to the work (which is enormously accessible despite the contrivance) you will find the machinations and manipulations of the story easy to follow.

"Liz" is more ambitious and worldly than "Beth," who appears somewhat down-at-heels and uncertain of herself; thus, the choices made by each part of Elizabeth's rather coldly calculating nature seem diametrically opposed. But since each decision is predicated on a particular part of Elizabeth's personality, the stories (told side-by-side in concurrent "universes") may be easily tracked and considered as they play out in front of you. Confusing? Maybe, but you're clever enough to follow along.

Does it work? Yes, thanks in large part to the music provided by Kitt and Yorkey to bring Elizabeth's dual stories to life, but probably more to the point the musical works thanks to the superb performances delivered by director Michael Greif's ensemble of actors, which includes several veterans of the original Broadway cast, including the aforementionEd Burns and Tony Award-winner LaChanze and Broadway leading man Anthony Rapp, who play Elizabeth's best friends Kate and Lucas. The trio's onstage chemistry renders their performances more believable than a cursory consideration of the script would suggest - truth be told, you may look at Greif's pretty, shiny ensemble of actors arrayed across the Jackson Hall stage and be struck by a sense of déjà vu, thanks to the very "United Colors of Benetton"-ness of their physical iteration - and the actors, all of whom are particularly well-cast, accessible and tremendously talented, draw from all their training and experience to ensure that their audience is drawn into the story being told.

And that is what sets this touring production of If/Then apart from much of the 2015/16 Broadway at TPAC series offerings we've seen this season: this is an Equity tour, peopled by some of musical theater's very best performers, and the production has all the trappings of a big, bright and beautiful Broadway show, both technically and artistically. That's not to suggest we haven't seen some great shows this season - in fact, this has been one of TPAC's most satisfying slates to date - but sitting in the audience of If/Then will certainly make you feel as if you've been whisked away to New York yourself, to revel in all that is good and proper about top-flight theatricality.

The two stories in the life of Elizabeth to which we are privy - no matter how your view of life in New York has been shaped by your own life's experiences or the idealized visions created by the giant media/political/artistic/industrial complex - are engrossing. The interpersonal relationships on display, as well as the day-to-day minutiae of life in the big city, the tales told and the lives led in relative obscurity or overwhelming celebrity, are largely the same, relatable events, some written in lower case, others writ large across the imaginary billboards of your mind.

As both "Liz" and "Beth" travel down the roads of each of their conjoined stories, you find yourself pulling for one to prevail over the other, the intertwining plots and deviations from the norm suggesting your own hopes and desires. As a result, If/Then draws audiences into the action, urging them to make their own choices, to mull over their own decisions to see where life has taken them. The result is a heady experience that is sure to leave you transfixed, both by the show and be the reality of your own life.

While the tone of the story, as well as the music, of If/Then is lighter and potentially less depressing and distressing than that of Kitt and Yorkey's better known next to normal, there's more to connect the two pieces than just the power ballads and knowing turns of phrase that is now expected from the creative team. The two men are able to capture those moments we tend to keep guarded and close to our hearts and to somehow create musical moments in which characters are allowed to express themselves vividly, with stunning alacrity.

The storyline for "Beth," which includes her death-defying relationship with Josh (a recently returned from overseas Army doctor whom she meets rather serendipitously twice in a 24-hour period), is sweetly and evocatively told. The emotions of their pairing are perfectly represented, with so much nuance that you may well be convinced that what transpires between the two people onstage is as real and genuine as anything of which you could conceive, and thanks to the heartfelt performances of Burns and Matthew Hydzik (who, in a pitch-perfect portrayal, plays Josh with such infinite charm and warmth that you will fall in love with him as easily as Beth does), you cannot help but be moved by its dramatic arc.

Burns retains her relatability, her inherent affability, throughout her demanding role. Her actions are not always what you want to see, but like so much of life, it just happens that way and I can guarantee that from the audience you cannot take your eyes off her - and her stunning vocal performance will leave you breathless and, thanks to "What the Fuck?" amused and charmed.

LaChanze, as the best f-ing kindergarten teacher in New York, commands the stage effortlessly, breathing such life into her character that she gives a startling performance that is completely free of stagey artifice, instead imbuing Kate with a sense of joie de vivre and an enormous capacity for living. Rapp plays the rather neurotic Lucas with dexterity, ensuring that his character (who could either have been a caricature of the quintessential New Yorker or someone more akin to your own best friend from college) takes on a unique sensibility that renders him far more memorable.

Among the supporting players, Janine DiVita is terrific as Kate's lover and wife Anne; Jacques C. Smith is impressive as an ambitious governmental functionary who knew both Elizabeth and Lucas in college; and Marc DeLacruz delivers an on-point portrayal of David (Josh's best friend and Lucas' partner). Kyra Faith, playing Liz's protégé Elena, gives a noteworthy performance, her stage presence illuminating every scene in which she shines.

The ensemble, who fluidly move in and out of each scene to portray various people in the lives of the principals (and oftentimes giving the show's authors an opportunity to comment wordelssly upon a particular moment), is especially impressive as they portray a city's eight million or more inhabitants with flair and commitment.

Greif's direction, which keeps the action moving along at a fast clip along its circuitous journey through Elizabeth's life, is both understated and dynamic, while Larry Keigwin's choreography enlivens the proceedings through clever and character-driven movement. Mark Wendland's eye-poppinigly gorgeous set design provides an ideal New York City feel to the proceedings in much the same way that Emily Rebholz's costumes help to define each character with a contemporary fashion sense. Kenneth Posner's lighting design perfectly illuminates each moment onstage.

Kyle C. Norris conducts the 15-member orchestra (which includes 10 of Nashville's finest players, including Paul Carrol Binkley and Barry Green) with controlled passion and the music is performed with finesse and artistry.

• If/Then. Music by Tom Kitt. Book and lyrics by Brian Yorkey. Directed by Michael Greif. Choreographed by Larry Keigwin. Musical supervision by Carmel Dean. Orchestrations by Michael Starobin. Presented by Broadway at TPAC, at Andrew Jackson Hall, Nashville. Through June 12. For details, go to www.TPAC.org. Running time: 2 hours, 45 minutes (with one 15-minute intermission).

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