Perhaps we shouldn’t be surprised that Lin-Manuel Miranda, the most likable ‘creative’ on B’way, makes his directing debut with the most likable musical theater adaptation seen in years. Easily besting recent duds from far more acclaimed shows (DEAR EVAN HANSEN; CATS; ironically Manuel’s own stage breakthru IN THE HEIGHTS) with this small personal calling-card of a show written by Jonathan Larson a few years before his breakthru in RENT; recast by writer Steven Levenson to make it as proto-RENT as possible. And while it misses the solid super-structure RENT lifted from Puccini’s LA BOHÈME, the combination of Larson’s fast-approaching 30th birthday, health & romantic crises, and countdown to his make-or-break musical workshop carries us along on a series of set pieces for his propulsive, if not always memorable tunes. Miranda doesn’t fully trust the material, pushing too hard in the early going, but warms to the task and pulls back just enough so you can too. Same goes for leading man Andrew Garfield, boasting an improbably fast learning-curve as multi-talented showman, his occasional weak spot (movement a thing of practice rather than aptitude) explained by his position as writer/composer. Loaded with inside casting ‘Easter Eggs’ by B’way stars doing bits in song numbers that few non-theater nerds will pick up on, it probably does help to know the characters as later repurposed by Larson in RENT. That, and knowing his personal history, touched on right at the start, adds a touching mood of triumph over sadness beautifully played by Garfield & Miranda once they stop pressing; best seen in a lovers’ quarrel that starts to become a new song inside Larson’s head while still in the moment.* Beautifully handled by everyone.
DOUBLE-BILL: As mentioned, more enjoyable if you know RENT. Alas, after three tries at getting it right on film or video, nothing’s come close to the effect it made on stage. Probably best served by its Original Cast Album.
CONTEST: *Another highlight is a mash-up by Larson of Stephen Sondheim’s ‘Sunday’ anthem from the first act (the good part) of SUNDAY IN THE PARK WITH GEORGE during Sunday Brunch at the diner he works at. But Larson also throws an uncredited bone toward B’way’s unofficial anti-Sondheim composer, Jerry Herman, quoting a theme from a song in Herman’s cult flop MACK & MABEL. Name the linked songs to win a MAKSQUIBS Write-Up of your choice.
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