Review: Fabulous Voices Can't Save Dull, Unoriginal IF/THEN at PPAC

It's always a challenge to find a fresh, new, innovate way to tell a story. It seems at times like every story out there has already been told so the only option is to tell it again, but tell it differently. Use a storytelling technique that excites and engages the audience, and maybe it won't even matter what the story is. That idea, while it might sound good, just doesn't work in reality, as demonstrated by the current touring production of If/Then, now playing at Providence Performing Arts Center. The interesting way of telling the story just can't mask the fact that the story being told is incredibly ordinary, unoriginal and dull.

As for the story being told, it centers on a woman named Elizabeth, who has just returned to New York City after some years away. We first see her at a park where she is about to make a fateful decision, one which will change the course of her life forever. Instead of only seeing one possible outcome of that moment in her life, we actually get to see two. We observe her life as it takes two parallel but different tracks, each one started by the moment in the park that day and each reality is different because of what she did or did not do in that moment. In one reality, she is a hugely successful career woman who never has a family, while in the other, she is a wife and mother who regrets that she gave up on her career. And if that sounds trite and unoriginal, it is.

The musical's book and lyrics are by Brian Yorkey, with music by Tom Kitt, and it's frustrating to see an idea so interesting and filled with possibilities go to such waste. It's really interesting to think about and watch, in this case, how a life can be different based on just one moment or just one decision. It's a fascinating question to ponder, what would have happened if we did something differently or just made a different choice.

The problem is that Yorkey doesn't include anything fascinating in the characters in his play. They are completely shallow, really nothing more than stereotypes, each one of them can be summed up in a quick, short sentence. Independent career woman. Commitment-phobic gay man. Earnest, nice-guy midwesterner. Old flame who still harbors feelings of love. Best friend who wants to be more. Sassy lesbian friend. And on and on. That's all they are and there is nobody in the entire group who makes you want to root for them or even care about them.

A similar problem plagues the plotlines of both versions of Elizabeth (one is Liz, the other is Beth). Everything that happens to her, in both realities, is completely unoriginal, stuff you've seen before a million times. Working mom who resents lack of career? Check. Career woman who wants more love in her life? Check. Sex with best friend? Check. Marital problems? Check. Abortion? Check. Tragedy involving someone in the military? Check. Even when things are thrown in that are a little out of the ordinary, it seems like a real reach (a plane crash? really? ).

Occasionally, the songs do rise above the ordinary, but not often enough. A major problem is that most of them sound exactly the same and almost all of them cover the same themes. Fate. Destiny. Time. Living your life. Don't waste it. And so on and so forth, in almost every song. There are a few musical highlights, though, like the very sweet "You Never Know," and the hilarious "What the F-k." Actually, one character in particular, Josh, the husband in one of the realities, has most of the best musical moments, such the very nice "Hey Kid."

While others might disagree, one of the highlights of the show was the staging of the two different realities and how they bounce back and forth or intertwine. Director Michael Greif has done a fantastic job of dealing with the show's central idea, that we are watching two stories that are different but happen over the same period of time, involving the same group of people. While some audience members might find it confusing at times (often, the only way to keep track of which Elizabeth you're watching is whether or not she has glasses on), there are some really wonderful moments of theatrical magic. Scenes involving baseball games, a revolving bedroom with changing occupants and two parties that are happening simultaneously, in different realities, are handled brilliantly, as are many other moments of staging.

For their part, the cast handles all of that difficult staging extremely well. They are constantly asked to bounce back and forth between the two realities and they manage it all with skill, always making it clear to the audience which timeline we are watching. While there is little character development or depth for the actors to portray, they do take advantage of the opportunity to showcase their vocal abilities.

Jackie Burns has the most impressive set of pipes you are likely to see anytime soon and they are put to good use in the lead role of Elizabeth. Every time she sings, she commands and holds the audience's attention and her big solo moments bring the house down, especially the show-stopping "Always Starting Over."

The most familiar name in the cast may be Anthony Rapp, who is perhaps best known for originating the role of Mark in the Broadway smash Rent. In fact, his character here, Lucas, is a lot like a grownup version of that early role. That's not necessarily a bad thing, though, and Rapp is as talented, charismatic, hilarious and entertaining as ever. He is always reliably good and doesn't disappoint here, even if the character is written so poorly.

Matthew Hydzik is a standout among the cast as Josh, in no small part because, as mentioned, he gets the best songs. Still, Hydzik makes the most out of those opportunities, delivering a very nice performance. Tamyra Gray also does a good job in the "sassy friend" role, bringing lots of personality and energy to the part. The rest of the ensemble are also fine, if they are a bit interchangeable. That's to be expected in a show that's basically a group of affluent, privileged, beautiful New Yorkers dealing with their affluent, privileged, beautiful New Yorker problems.

Which leads to another fault of this show. It's really smug and pretentious in the way it acts as though New York City is the only place where anything ever happens. And the only place where a woman could possibly do the things that Elizabeth does. Every other place that isn't New York City is made fun of and belittled, which is annoying and insulting. Not to mention the insult in the fact that the musical makes it appear that the only two choices Elizabeth has is career or family. That's it, one or the other. She couldn't have both? Or, if she had to pick just one path, does it have to be so boring? Aren't there a thousand other paths that Elizabeth could take that would be a lot more interesting, unique or original? Any one of them would likely make for a more entertaining and engaging night at the theater.

IF/THEN runs through June 19th at Providence Performing Arts Center, at 220 Weybosset Street in downtown Providence. Tickets start at $46 and are available at the PPAC box office, online at www.ppacri.org, and by phone at 401-421-2787. Box office hours are Monday through Friday, 10am to 5pm, Saturday, 10am to 2pm, and two hours prior to curtain time on show days. Show times are 7:30pm on weeknights, 2pm and 8pm on Saturday and 1pm and 6:30pm on Sunday.

Pictured: Anthony Rapp and Jackie Burns. Photo by Joan Marcus.

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