'Carl Sagan’s Contact – The Musical' at Centerstage in Federal Way

A brand new world premiere musical based on the Carl Sagan novel and Jodie Foster movie "Contact" has ventured into our solar system (Centerstage in Federal Way to be exact).  And one has to wonder what transmission from outer space told them that this show was a good idea.  Now throughout the course of musical theater history there have been film adaptations into musicals that make people go "hmmm".  When they're done well like "Kiss of the Spider Woman" or "A Catered Affair" the results can be surprisingly wonderful.  But when they're done not so well like the misguided adaptation of "A Little Princess" called "Princesses" or the infamous flop musical of the Stephen King movie "Carrie" or the legendary Seattle disaster, "Hunchback", the results are, well, like watching a train wreck.  And while "Contact - The Musical" is not the worst show I've ever seen (that would have to go to "Princesses") it certainly leaves me wondering, "why?" and goes firmly into the second category.

The story follows Ellie Arroway, a little girl who grows up obsessed with what it out there beyond the stars.  Spurred on by her Father, who dies while she is very young, she devotes her life to searching for existence of life beyond our planet.  And while working at the V.L.A. (Very Large Array) in New Mexico, she finally gets a signal from deep space.  A signal that not only indicates life outside our solar system but also gives us directions on how to come and visit them.  Along the way she falls for a preacher who makes her question her disbelief in God, and well, go rent the movie if you want to know more. 

Our cast is headed up by Caitlin Frances as the adult Ellie Arroway.  Frances has a beautiful and very powerful voice and looks the part but I never got the impression that she was fully committing to her character.  And why would you?  This show boasts some of the best performers Seattle and the surrounding areas have to offer (both pro and semi-pro) and I just kept feeling sorry and embarrassed for them that they were being wasted in this show.  Particularly wasted was Eric Hartley as the eccentric billionaire, Hadden, who mysteriously helps Ellie along her way to the stars. Hartley is consistently wonderful in everything I see and does the best with what he is given.  But how much can you do when your only real solo is an out of place number entitled, "They Can't Touch Me (But You Can)" and you're forced to zoom around on stage in a wheel chair groping after a trio of naughty nurse chorus girls.  This number in particular left me having to pick my jaw up off the floor.

Now you might think with that number that I have missed the point of the show and they are treating it as a parody of a not so good movie.  I only wish that were the case.  If it were then I would have been rolling in the aisles (not that I didn't want to anyway).  But the subject matter and show itself is treated with all the solemnity of "Les Miserables" and "Les Miz" it is not.  With music by Peter Sipos, lyrics by Amy Engelhardt and book by Alan Bryce (who also directed the show and is the Artistic Director of the theater), the show manages to put forth some the least memorable, trite and cliché songs, desperately searching for a rhyme, I have heard in awhile.  A prime example is a rousing pop number from the President (played by Dana Johnson) where after meeting Ellie for the first time feels it necessary to sing a song about how much she likes Ellie called, "I Get Her" in which one of the chorus refrains went "I get her.  I've met her."  We know you've met her.  We were there.  Or how about the prayer to "Bless This Journey" led by Preacher Palmer Joss (played by Mathew Posner) who pleads to God to keep Ellie safe?  "She always stays on track, God protect her, not only on the way there, but coming back."

It's obvious that some money has gone into this show.  Not only from the amazing talent they were able to put on stage but also from the pre-recorded music wonderfully arranged and directed by Mark Rabe.  And of course there is the quite impressive cyc onto which was projected all sorts of scene backdrops and sci fi animation to enhance the many locations of the show (some of which looked really good and some which just looked like someone over using a new toy, and not all that well).  But no matter how much talent, rehearsal, technical wizardry and money you put into a show, unless there's a good show there to begin with, you're wasting your time.  And while this is a spectacularly put together show, it just ends of being spectacularly mediocre.

"Carl Sagan's Contact - The Musical" plays at The Knutzen Family Theatre in Federal Way through October 18^th.  For  tickets or information contact the box office at 253-661-1444 or visit them online at www.centerstagetheatre.com.

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