REVIEWS: “Bob & Carol & Ted & Alice” and “Darling Grenadine”

The cast of “Bob & Carol & Ted & Alice”. Photo by Monique Carboni

The cast of “Darling Grenadine”. Photo by Joan Marcus

I once attended a panel discussion at which playwright and librettist Lisa Kron casually stated that “musicals are always impressionistic”, suggesting that even the most naturalistic presentation takes a back seat to the force of its emotional and sensory resonance.  Two recent Off-Broadway openings prove her point.

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The New Group presents the world premiere of “Bob & Carol & Ted & Alice”, a new musical adaption of the hit 1969 film by Paul Mazursky, once groundbreaking for its frank depiction of sexual experimentation among upper middle class married couples amid the shifting mores of 1960s California, directed by Scott Elliott (“Happy Talk”) with choreography by Kelly Devine (“Come from Away”). 

With a book by Jonathan Marc Sherman, music and lyrics by Duncan Sheik (“Spring Awakening”) and lyrics by Amanda Green (“Hands on a Hard Body”), I cannot recall the last time I sat in a theatre and experienced such a chasm of difference between the enveloping success of the atmosphere created by the music and production design—including spot-on period costumes by Jeff Mashie, a smart and effective set by Derek McLane, and sultry lighting by Jeff Croiter—and the weakness of the muted and banal text that it serves.

It’s not that Bob (Joél Pérez) and Carol (Jennifer Damiano) and Ted (Michael Zegen) and Alice (Ana Nogueira) have nothing to do—there’s plenty of plot points as these two couples navigate extramarital “affairs” and end up in bed together on a swinging trip to Las Vegas—it’s just that not much of it is all that compelling. 

What emerges, instead, is a seductive impression of a specific milieu, rather than a detailed sketch of the characters existing within it—an unlikely musical recipe that, according to Kron, is also one inherent to the form.  I can’t disagree.

As these abundantly normal couples go about timidly surfing mere ripples amid waves of the sexual revolution, the device of an omnipotent balladeer (Suzanne Vega) who never directly interacts with them but plays a host of other, unseen characters, feels unrealized.  

Likewise, the presence of an onstage band—who also join in singing—Bob and Ted playing instruments, and multiple incidents of breaking of the fourth wall to include audience members as additional scene setting bodies combine to further confuse the structure and storytelling.

Time and place remain operative, above all else, and Mr. Sheik provides an appealing, transporting, and mood-setting 1960s soundtrack.  As in “Spring Awakening”, characters routinely step outside of the action to grab microphones and sing about it.  But where in that musical this device incisively introduced an anachronism to bridge the gap between 1890s Germany and 21st century America, here it falls flat, especially since the songs rarely investigate the interior lives of the characters and, instead, largely meditate on themes. 

Why is this a musical instead of just a play with some mood-setting background songs?  Beats me.  But if you’re looking to firmly step back in time and authentically experience the mellow spirit of burgeoning sexual awakening in 1960s California, “Bob & Carol & Ted & Alice” does the trick.  Opened February 4th; runs through March 22nd at Pershing Square Signature Center.  Discount Tickets.

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Following development at the Eugene O’Neill Theater Center in 2016 and a 2017 production at The Norma Terris Theatre under the auspices of Goodspeed Musicals, “Darling Grenadine” (critic’s pick!), a tautly-spun and enchantingly charming new musical love letter to the City of New York, is finally making its premiere here in a sold out Roundabout Underground production. 

From what I gather as a teetotaler, a good musical is like a well-made cocktail—the success of the whole entirely dependent upon both the quality and selection of its ingredients.  On both these marks, “Darling Grenadine”, with book, music, and lyrics by Daniel Zaitchik, is one delicious drink.

This intimate, six actor piece follows the original story of Harry (Adam Kantor), a successful commercial jingle writer, who winsomely falls in love with Louise (Emily Walton), a Broadway understudy.  With his pals by his side—his bar owning-“brother”, Paul (Jay Armstrong Johnson), and his invisible dog, also named Paul (voiced by trumpeter Mike Nappi)—the sweetness and intoxication of Harry and Louise’s courtship is interrupted by (spoiler alert) the revelation of Harry’s alcoholism.  

While the story is simple, it is tenderly rendered with extraordinary economy that is clearly the product of a thoughtful development process.  Director Michael Berresse stages the piece in the round, with a frieze of video projections depicting line drawings of various locales throughout New York (set design by Timothy Mackabee with projections by Edward T. Morris), and inviting the audience to witness the musical flashback as fellow members of Harry’s support group in the present.

Mr. Zaitchik masterfully walks—and blurs—the line between fantasy and reality, setting the story in an “alternate Manhattan where people dress more formally and recognizable modern technology is absent”.  His Manhattan is simultaneously contemporary and classic, evoking Hollywood movies and backstage musicals of yore, while also commenting on the everyday mundanity of our lives.  This tension, a constant, atmospheric argument with reality, smartly reflects Harry’s own personal struggle with addiction, and the way it radiates out to those with whom he is closest.

Mr. Zaitchik is a remarkable and surprising tunesmith, with the rare ability to craft complex songs that sound wholly new while also being instantly memorable (“Manhattan” has been stuck in my head for weeks now).  The strength of his skill falters only when called upon to pen pastiches of golden age musical comedy songs for “Paradise”, the musical-within-a-musical in which Louise appears as “third maid from the left”.

Still, the musical palette of the piece is sweeping and rich (a feat complemented by a mere three piece offstage band), and the story far more serious than it appears at first blush.  The end left me devastated, and Mr. Kantor, in particular, delivers a subtle and heartbreaking performance throughout.  This is one musical that will no doubt have a life beyond Roundabout Underground.  Pro-tip: keep your eyes on Mr. Zaitchik, as well.  Critic’s Pick. Opened February 10th; runs through March 15th at the Blackbox Theatre at the Harold and Miriam Steinberg Center for Theatre. Sold Out (but checkout stand by tickets).