My (long) Dessa Rose review (1st preview)

[broadwayboy81]

Posted: 2/18/05 at 1:54pm

Ok… I know it was a preview, so take this review with a grain of salt. These are just my first instinctive opinions. I think this is a show that needs to be viewed more than once to be truly justified.

Here goes:

In true Ahrens and Flaherty fashion, the opening does not disappoint. Within the first 30 seconds, I had tears dripping down my face. The music, the lyrics, the voices, and the feeling of being one of the first people to see this show (albeit in it’s “preview” state) made an overwhelming impact on me. The dialogue was woven seamless in and out of some beautiful harmonies and powerful language in that opening number. The problem is that those tears were the only ones shed by me and the intensity never quite matched that opening moment again throughout this 2 hour and 40 minute musical last night. Even when the opening number is reprised in the Epilogue we are only given a glimpse of it, when what we want an even longer, fuller, and more passionate cry of “We are Descended.”

Don’t get me wrong, this is some strong material (I kept hearing shades of Floyd Collins, The Quilters, and a touch of Caroline, or Change). Because the show is through composed it is different then previous A & F works (but what two shows are the same of theirs?). They are true chameleons when it comes to their collaboration and writing styles. They sink their teeth into what the material is and how to best musicalize it. Clearly, they don’t say, “What’s the next great melody or witty lyric we can use?” It’s about truth in the story too them. The material dictates their process.

Well, Dessa Rose is quite the story. It’s a semi-true story (both lead characters actually lived) full of great relationships and true inspiration. Perhaps it’s the complexity of each character and each relationship that seems to have made A & F falter a bit (at this point). They have overcome most of the difficulties that could have come from musicalizing this story (over-sentimentality or over-dramatization) and because of that this show seems to lack the heart it could have. Granted, it does have some truly emotional moments, but we never quite feel or hear the “revelation” we so desperately want. We don’t see the arch of this story or feel the release of each push. Instead, we are stuck somewhere in the middle constantly anticipating the thought of what could come next. Unfortunately that anticipation never really builds to anything. There is a glimpse of something in Act 2 with the two women and Nehemiah (Michael Hayden), but it is so scattered and confusing that we don’t know what to take from it.

SPOILER (probably won’t be understood unless you’ve seen the show): I heard more than a handful of people questioning why the pages in Nehemiah’s book were either blank or just scribbles. I myself was confused when those lines were delivered. We saw him writing in that book in Act 1. Why can’t the Police Officer see what was written? Is Nehemiah crazy? Has he always been? That appeared to be the climax to me and it could have been quite effective (especially with the brilliant acting of Michael Hayden), but I was too busy trying to figure out what was going on. Why is he ripping his book full of blank pages?

This is not a lost cause though. Even with the lack of a complete emotional connection this is some strong material. I believe Stephen Flaherty has composed a brilliant score here. He has embraced this style of music and totally engages himself in each song (the vocal arrangements are also quite stirring). As I said before, the opening number’s music is simply stunning. Likewise, all of Dessa’s solos are quite effective (Though her last solo in Act 1 doesn’t seem like the appropriate to that act. Several people looked confused as it abruptly ended and the house lights came up.). I believe this score is a mix of A Man Of No Importance and Once On This Island, but truly it is a new sound for him and, in my opinion, very appropriate to the material. Every note had a purpose. My only problem with the music came from the orchestrations. I understand it is a small pit hidden from us and the space doesn’t lend itself to much more, but the way the pit is produced through the speakers it comes across as sounding too synthesized and distant. It sounds like canned (pre-recorded) music not live music. I don’t know how to fix it, but it was distracting at time. I wanted fuller orchestrations and this score deserves it.

Lynn Ahrens book does lack some. It isn’t bad; it’s actually quite good. It just doesn’t seem to be finished (and luckily, they’re in previews so things can be fixed). The story is very choppy. Some scenes appear to come out of nowhere (In the Bend of My Arm w/ Kaine and Dessa for example). I don’t think this is so much Lynn’s problem as Graciele Daniele’s (director) Ms. Daniele needs to help most with the flow (I would love to see Joe Mantello take this on). Ms. Ahrens main focus should be to clear up the climatic scene mentioned above (in the spoiler). I just feel a sense that every major plot shift needs to be heightened a little. An added line here or subtracted scene there (Ten Petticoats is cute, but ruins the flow of the story and doesn’t add anything in my opinion). I don’t think it is hopeless. It just needs some fine-tuning.

Even with the minor problems of the written work, I think it is by far superior to the actors and singers at hand. The strongest acting work done on the stage was done by the only under-written role. That actor is Michael Hayden. While his singing voice may not fit the material his acting surely does. He has created a strong character in Nehimiah and if his final scene is polished he will soar in this role. Unfortunately no other actor had me fully convinced. LaChanze comes close, but lacks when it comes to variety. She seems to not have bought into her character yet because most of what she does is very surface and hard to connect to. Her singing is impeccable, even though there are some rough spots in her vocal transitions between chest and head voice. I think that with more direction from Ms. Daniele LaChanze will have me sold.

Rachel York, on the other hand, seems glaringly out of place in this show. I just don’t think she has the acting chops to pull this off and unless she proves me wrong when I see it again after opening, I don’t think she has this role inside of her. She has been known for her comedy skills (loved her in Kiss Me Kate) and it appears that she lacks the intensity to make us care for her character, Ruth. She also has only scratched the surface of the roll laid out for her. Sure she pours out her tears constantly in this role, but because of that she doesn’t give us, the audience, the chance to pull out our tears for her. Her singing also seems a bit off. Ahrens and Flaherty have written a tour de force song for her (At the Glen) and she lacks the control to handle it. Why was Carolee Carmello not coerced into this role? Where was Alice Ripley? Where was Marin Mazzie? So many stronger choices could have been made for this role. It is really too bad.

Norm Lewis appears bored onstage. I generally love him, but he needs a more “showy” role or he doesn’t know what to do. This role should not be showy though, so I think it was a casting error. I have never understood the appeal of Eric Jordan Young. He has a fine singing voice, but his acting leaves much to be desired. He seems to try too hard and comes across as cheesy and a little homosexual…(I had to say it) We never buy into his character, Kaine and that is a HUGE relationship that we need to care about.

No one else sticks out as glaringly bad or glaringly good (Though the African American women in the ensemble really know what they are doing and can only get better!). It’s just too bad that most of the actors fall short because this is definitely an acting piece. It is not the traditional musical. It seems to be almost play-like in its structure and it needs strong actors to carry the story and make us care. I heard some people saying the opposite: “The material is weak, but the actors are strong.” I think it could be easy to blame this on the writers in efforts to defend some favorite actors giving not so great performances. However, the actors (and scattered unfocused direction) are much further away from where they should be in comparison to the collaborators (A&F).

Overall, I was affected. Was I moved? Very mildly… I think this production has the best of intentions and with that comes the GREAT potential for a truly touching and innovative production. I have the utmost faith in Ahrens and Flaherty and I know this musical will come miles in the next month. My biggest hope is that Ms. Danielle hashes out these performances and gets the best out of each actor while making the story more focused. I look forward to revisiting again!

[munkustrap178]

Posted: 2/18/05 at 1:58pm

Great review, I can't wait to see this?

You had tears dripping down your face 30 seconds into the show? Honey, that sounds a little scary.

[broadwayboy81]

Posted: 2/18/05 at 2:22pm

LOL... it's an ahrens and flaherty opening and a spirtual! What do you expect... Of course there were tears!

[JBSinger]

Posted: 2/18/05 at 3:11pm

Won't get a chance to see it, but hope its preserved on CD. You comment on Rachel York's voice and her not being strong. Are you nuts? That woman can sing anything and has belt for days. Maybe she just hasn't worked it into her voice yet (or rehearsed for 6 hours prior to the 1st preview or was up late doing final tech). I'm sure she'll be wonderful in the role and vocally dazzling.

[FOAnatic]

Posted: 2/18/05 at 3:16pm

I'm surprised about York. She is one of the most fabulous actresses I have ever seen. Did you see her in the London production of Kiss Me Kate? Her singing was INCREDIBLE...the girls got some chords! And her acting had me in tears she was so good. Both her comic ability and dramatic ability. I hope this was just an off night for her.

[CapnHook]

Posted: 2/18/05 at 3:20pm

I'd imagine it will smooth out to become another fantastic, yet underappreciated production.

RAGTIME and SEUSSICAL are great - SEUSSICAL is underappreciated and RAGTIME became more popular after its time on Broadway.

[munkustrap178]

Posted: 2/18/05 at 3:47pm

I haven't seen this yet, but in response to Rachel York, my friend saw the show the other night and said she was awful in it. I was surprised because I love her so much, but we'll see...