Guest Review: EMPIRE RECORDS: THE MUSICAL at McCarter Theatre-Electrifying

We welcome this guest review on our NJ site. Chloe Yang (she/they) has bylines in 360° of Opera, Classical Singer Magazine, and China’s Opera magazine. A fangirl at heart, she’s had the privilege of interviewing luminaries such as Angel Blue, Hui He, Matthew Aucoin, Tracy K. Smith and many more, yet finds the greatest fulfillment in lending her voice to historically underrepresented artists. When she’s not busy crashing fashion pop-ups in NYC, she can be found planning and promoting Metropolitan Opera Students events.

On Sunday, September 15, the Berlind Theatre at McCarter Theatre Center saw a packed house for Empire Records: The Musical, an adaptation of the eponymous cult classic film. David Rockwell’s vivid set greets the audience, featuring bins of vinyl, listening booths, and the couch where characters would retreat in moments of crisis. As the lights dim, a neon sign spelling “Empire RECORDS” flickers to life, illuminating posters of rock legends like Neil Young and Pink Floyd. At center stage, a banner proclaims “REX MANNING DAY” in glaring red, flanked by two adorably kitschy T. rexes. It’s April 8, 1995, and we’re about to spend a day with the misfits, dreamers, and music lovers that call this record store home.

Empire Records: The Musical follows a group of young employees as they navigate the challenges of impending adulthood, romantic entanglements, and the threat of corporate takeover, finding solace and strength in their shared love of music and each other. Beneath the nostalgic veneer and catchy tunes, a central theme of mobility manifests in myriad ways. For Corey (Lorna Courtney), it’s the promise of escape to college and a brighter future. For Gina (Samantha Williams), it’s the crushing realization that she may end up stuck in a dead-end job. The fading rockstar Rex Manning (Damon Daunno) represents both the allure and the fleeting nature of success: he’s able to retreat to his Malibu mansion after wreaking havoc, while the young store clerks remain tethered to their small-town reality. The disparity is starkly illustrated in the duet “Girls Like Me.” As Gina sings, “So now two girls have changed / And you’re sitting inside a moving train / Never noticing that you’re moving on,” the audience feels the weight of her distress at being left behind. The right to pursue freedom and happiness, the show suggests, often looks more like a privilege than an unalienable right.

Communication, or the lack thereof, forms another vital thread in the musical’s fabric. The show repeatedly asks why people struggle to express what truly matters. In “One Thirty-Seven,” AJ (Liam Pearce) grapples with his inability to confess his feelings to Corey, lamenting, “All I had to do was say / The words that I’ve been saying / To everyone else all day / Because they’re true.” This fear of vulnerability echoes throughout the characters’ interactions, creating misunderstandings and a sense of isolation even in their tight-knit group.

What sets Empire Records: The Musical apart is how seamlessly it integrates these themes into its musical numbers. Composer Zoe Sarnak and book writer Carol Heikkinen face the daunting challenge of condensing multiple lively characters and generational experiences into a tight 1 hour and 37 minute runtime with no intermission. They succeed by ensuring each song serves a clear purpose — either propelling ensemble movement or providing deep character insights. “Scissors,” performed with raw intensity by Analise Scarpaci as Debra, delves deep into her character‘s pain and self-destructive impulses, giving voice to a struggle that often goes unspoken. The ensemble numbers, such as “Welcome to the Empire” and “Cover Me with Sound,” pulse with youthful energy while showcasing the talents of cast members like Tyler McCall (Lucas) and Eric Wiegand (Mark), who provide comic relief without descending into caricature. Even minor characters undergo meaningful transformations. Sam Poon’s portrayal of Warren, the shoplifter that evolves from petty thief to Empire Records employee, illustrates the themes of found family and second chances. The result is a show that feels both expansive in its topics and intimate in its portrayal of youthful angst and aspiration.

Under Trip Cullman’s expert direction, the ensemble works together seamlessly, their chemistry palpable in every scene. Ellenore Scott’s choreography and the live band, led by Daniel Green, join forces to capture the frenetic energy of youth and the rhythm of a busy record store. Paloma Young’s costumes strike the perfect balance between 90s nostalgia and timeless fashion. The set, with its rotating elements, allows for smooth transitions between the store floor, back room, and roof, mirroring the fluid nature of the characters’ journeys.

While tackling serious themes, Empire Records: The Musical maintains an undercurrent of optimism that borders on idealism. The ending feels almost too good to be true, even in today’s entertainment industry. Yet this hopefulness can be seen as an homage to the spirit of rock and roll, where generation upon generation of youths vow to usher in change.

As the final notes of “Here” fade away, the audience finds themselves at a crossroads on this trip down memory lane, reflecting on how we connect, how we dream, and how we face the future when the present seems uncertain. In a world where physical record stores have become largely obsolete, Empire Records: The Musical reminds us of the communal power of music. It asks us to consider: Where do today’s misfits and dreamers find their tribe? And how do they fight to keep their own empires standing in a digital age?

Empire Records: The Musical at McCarter Theatre Center will be performed through October 6th.  The theatre is located at 91 University Place, Princton, NJ 08540. For ticketing and more information, please visit  HERE and call 609.258.2787.

Photo Credit: Daniel Rader

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