Review: Uneven but Tuneful IF/THEN at The Fox Theatre

It's interesting to me that IF/THEN is billed as "a new musical". It's the use of the word "new" that I find puzzling. The concept certainly isn't an original one, having been explored on the big screen in the films Blind Chance (1981) and its sort-of remake, Sliding Doors (1998). And, even though neither of those movies were musicals, they both featured the idea of having their lead traverse optional story lines, with Blind Chance even offering up three different scenarios for its protagonist to experience. But, this show is new in the sense that it explores contemporary trends, with the caveat that some audiences may not find much to identify with, and it features a wonderfully fresh and tuneful score (music by Tom Kitt, book and lyrics by Brian Yorkey). All of that just might be enough to make this show worth seeing. Because it does feature a talented cast who have the ability to pull off these roles and the memorable songs provided with considerable conviction. But, the trickery seems a bit cloying at times, and the show does seem to drag at over 2 ½ hours. I guess, like our heroine, Elizabeth, I'm straddling the fence too, at least when it comes to my opinion.

As convoluted as this script sometimes becomes, even though it's certainly easy enough to follow, the basic premise is simple. Elizabeth, who's a recently divorced Urban Planning instructor pushing 40, decides to start all over again in the Big Apple (New York City for everyone that finds that reference archaic). She meets up with friends Kate and Lucas,with Kate saying she should start referring to herself as Liz, while Lucas opts for her to go instead with the name she went by in college, Beth. At this point the story splits in two, with each path explored to discern how these different choices will ultimately affect her and those around her. And, I have to say that putting on the patented "Clark Kent" glasses (along with specific color scheme changes in Kenneth Posner's lighting scheme) to distinguish between the pair is convenient, and probably a necessity in order for the show not to run any longer than it already does, but it's such a throwback to a well worn comic book based conceit that I couldn't help but be amused by it every time it occurred.

Jackie Burns (who was Idina Menzel's standby in the original production) does a great job with a part that really doesn't do her talent justice. She's compellingly snarky both vocally and in her acting, which, with the two different paths the story takes, is no mean feat. As Liz, she pals around with the more outspoken Kate (Tamyra Gray), and meets Josh, solidly essayed by Matthew Hydzik. She also takes the time to catch up with her "more than just a friend" college buddy, the bisexual Lucas (Anthony Rapp, neatly reprising his Broadway role). In this scenario we also meet Josh's friend David (Marc de la Cruz), who winds up with Lucas, while Kate and Anne (Janine DiVita) hook up. Any more information would lead to more spoilers, although I should mention that Daren A. Herbert does decent work as Stephen in helping with Liz's career.

As Beth, relationships go in different directions, but a lot of the same characters remain in place, with some obvious differences. The one notable addition being Elena (Kyra Faith), whose decision to leave her position to marry and start a family doesn't sit well with Beth. That's important in the context of what happens to Liz/Beth, and as you can already see, the plot is beginning to weigh down this review, and I'm trying to keep it concise. The rest of the supporting cast is polished and sharp, even if they serve more as a living background than as fully realized characters.

This is a far cry from the brilliance on display that Kitt, Yorkey, and director Michael Grief synthesized for the excellent NEXT TO NORMAL. Like that show, it also features a strong female lead, although the mental and emotional schism that character goes through is decidedly different in nature. And, despite my reticence, there's a lot to like here as well. In addition to the music and performances, the scenic design by Mark Wendland is clever and conjures up the proper feel for the various locations presented, and Emily Rebholz provides costumes that are good character fits. The minimal choreography by Larry Keigwin, which acts as more of a transitioning device, complements the action as well.

IF/THEN is a conundrum, and perhaps that's by design, or an outgrowth of the concept itself, but it is a show that deserves an audience. Whether the characters and the paths they take resonate with you or not, I would urge you to go, if only to hear the score in a live setting, and to appreciate some of the fine work that occasionally provides some truly stellar moments. This touring production continues through March 27, 2016 at The Fabulous Fox Theatre.

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