Review: The World Premiere of 1820 THE MUSICAL is Moving and Modern

1820 THE MUSICAL at the Covey Center for the Arts is the world premiere of a moving, modern new musical about Joseph and Emma Smith. With a HAMILTON-inspired physical production and strong musical score mirroring THE GREATEST SHOWMAN (both also recent musicals about 19th-century visionaries), and book reminiscent of the Temple Square visitors center film JOSEPH SMITH: PROPHET OF THE RESTORATION, it tells the oft-repeated story with contemporary sensibilities.

1820 THE MUSICAL (book and additional lyrics by George D. Nelson, music and lyrics by Kendra Lowe Holt, Kayliann Lowe Juarez, Doug Lowe) chronicles the life and death of Joseph Smith, whom members of the Church of Jesus Christ of Latter-day Saints revere as a prophet, focusing on moments that humanize him and his wife, Emma.

Zack Wilson, known to TV viewers from DANCE WAR: BRUNO vs. CARRIE ANN, is a great choice for Joseph. An adept vocalist with pleasant pop stylings, he moves athletically and projects self-assurance. Kerilyn Johnson as Emma matches his depth of feeling and range of emotion, and Conlon Bonner is a highlight as his older brother and rock, Hyrum.

The ensemble has much to do throughout the show, and they rise to the challenge in vocals, acting and dancing, as they rousingly perform Adam Dyer's frenetic yet precise choreography that encompasses most of the musical numbers.

The ever-present choreography and minimalist production design clearly took a page from HAMILTON's book, including the wooden structure set by Nat Reed, colorful lighting by Pam Cluff and costume design (uncredited but constructed by Tara DeGrey) that features leggings and men's shirts for the women. It's a concept that works well for the piece, if slightly derivative.

The origin of the show's title is a bit mystifying, as only a few minutes of the musical are set in 1820, and the year is not given any special significance in the text. The title gives the impression of a church-sponsored bicentennial pageant, which is far from the creators' intentions and Broadway ambitions.

The composers/lyricists followed the approach of THE GREATEST SHOWMAN, utilizing anachronistic pop music with memorable earworm hooks to pull in the audience. And it really works! Some of the songs are achingly beautiful, such as "Mysteries Yet to Tell" and "Made for Forever," while others, like "Kiss My Cheek" and "Who Is This Man?", are stirring, upbeat bops. The cast album is available on all major platforms, and it is definitely worth a listen.

It is a fantastic pop album retelling of Joseph's life, but as a stage musical it feels like the book was written to accommodate the songs rather than the other way around. Some of the moments aren't the most intuitive to musicalize and don't propel the plot or character development, especially with lyrics that don't always move the story along. Examples include "All About Timing," "Alive in Christ," "70 x 7," and "Kiss Forever Bye-Bye."

The book is made up of a series of loosely linked vignettes from Joseph Smith's life that are often included in church Sunday School manuals and that don't always connect to a larger narrative. This was also the approach of JOSEPH SMITH: PROPHET OF THE RESTORATION, which included several of the same scenes. When it occasionally delves into deeper history--such as the trial portrayed in the thrilling storytelling number "Objection!"--the musical feels more fresh and original.

In addition, the decision to depict Joseph's visions visually rather than just through his words to Emma or another character takes away the audience's ability to choose for themselves whether or not they think he was telling the truth. The show takes a stand from the beginning and continues throughout, as any character who doesn't believe is represented through dialogue or performance as either foolish or malevolent. It is a story told for believers. Especially since the uninitiated could easily be lost trying to understand the context of some of the various scenes and numbers, partly because of the script's episodic nature, and partly because the dialogue between songs is so brief with minimal clues about time and place.

Book writer and director George D. Nelson is a talented playwright (his musical SOFT SHOE is a small treasure) and capable of adding what is needed, which is abundantly clear in the most successful scene of the show (and not coincidentally, the longest), in which Joseph and Emma discuss plural marriage. It is a devastating scene that paints them as real people and masterfully illuminates their relationship, leading into the best song of the score, "One Day We Will." When they delve deeper into the characters and history in this way, the musical is at its best, such as the brother anthem "One Last Ride" and the scene leading into it. And if Joseph's relationship with Hyrum had been featured more heavily earlier on, it would have had even more impact.

1820 THE MUSICAL has enormous potential with further reworking. The show could be more intent on building Joseph's relationships with Emma and Hyrum in a tighter narrative, removing scenes and songs that don't tell a cohesive, plot-focused story. It's a large span of time to cover, but if they could be more selective in what is included and then provide greater context for the action through connecting dialogue and longer scenes, the songs would feel more earned and have greater emotional payoff. The most resonant sections are those set at the end of Joseph's life in Nauvoo, so perhaps it would make sense to focus there with carefully chosen flashbacks to earlier years. With a current running time of less than two hours and no intermission, there is plenty of room to expand.

Musicalizing the life of Joseph Smith is a massive undertaking, especially in a way that pleases both believers and nonbelievers and that is acceptable to both those who know the history and those who don't. 1820 THE MUSICAL is an admirable attempt with much to be praised. If any of this piques your interest, it's well worth checking out yourself. At the very least, be sure to give the enjoyable album a listen.

1820 THE MUSICAL plays through September 11, 2021. For tickets, call the box office at 801-852-7007 or visit www.coveycenter.org. For more information, visit www.1820musical.com.

Photo Credit: Cast of 1820 THE MUSICAL. Photo by Bry Cox.

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