BWW Reviews: A Compelling MURDER BALLAD at Studio Theatre

There's a full house of sexy talent holding court over at Studio Theatre these days, and it's not limited to the four actors starring in Murder Ballad, an immersive work of theater being given an impressive DC production through May 17 (the show was produced Off Broadway by the Manhattan Theatre Club in 2012). Credit must first be given to Director David Muse, and the creative team that has transformed Stage 4 at Studio's 14th St. venue into what feels remarkably like a rock music club that's been around for decades, and surrounds you with the music and story.

Whether you go on your own, with a date, a friend, or a group, arrive early (up to an hour before show time) to take advantage of the unique pre-show atmosphere when you'll be admitted by party after being directed to a back entrance down the alley behind the theater. Play a game of pool before the pool table becomes part of the action, chat over drinks, and do some people watching as the audience drifts in, and the club starts coming alive.

And even if you walk into the bar alone, you may find you've made some new friends at your table by the time the lights dim, and the band starts. There is not a bad seat in the house; the roving quartet of actors, weaves between tables, entering the space from various doors around the bar, and use the bar and pool table as parts of the action.

The rock score, by Julia Jordan (book and lyrics) and Juliana Nash (music and lyrics) that tells the story of a love quadrangle gone deadly is compelling, often haunting, and has a satisfying weight. There's more to this show than a murder; it's a story of redemption, life-worn dreams and choices, good and bad. The lyrics tell a coherent tale that provides sufficient character development so that we feel invested in what happens to each of them. The impulsive Sarah, who has managed to follow her healthier instincts in love but gets drawn back to the darker corners, is the focus of both bad boy, charismatic bartender Tom, and English professor Michael, who is drawn to Sarah's need to be saved from herself. In this show, you meet these characters in their natural habitat of early '90's Manhattan, over a six year span.

Jordan describes being inspired by the "tradition in rock, folk and pop songs of the murder ballad, where the story...can be told from any number of perspectives: a narrator, an eye witness, the killer, even the dead person."

This is a first rate cast, led by Anastacia McCleskey as the narrator, whose stunning, clarion voice knits the story together, and finds a wry humor amid the tale of love gone wrong. McCleskey, Christine Dwyer (Sarah) and Tommar Wilson (Michael), all have strong Broadway credits, and along with Cole Burden (Tom), accomplished NYC and regional performer, are clearly in sync with each other, which is essential to the success of such a carefully choreographed and very physical show. The tight runtime of 80 minutes makes for a seamless storytelling experience and the constantly shifting action and sight lines help keep the audience feeling a part of the action.

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