The La Jolla Playhouse World Premiere Also Evoked Several References
Various things come to mind, dear reader, as I start writing this piece. The Outsiders just finished its San Diego run on its Broadway tour, coming back to where it all began after premiering at The Playhouse in 2023. Getting to experience a musical’s journey is always a treat and a full-circle moment, and during the opening night of GRIM, having two women as the artistic director and the managing director- introducing the show felt special.
GRIM touches on the Grim Reaper (Paolo Montalban), his work, and family dynamics while collecting not only souls but also love, knowledge, tradition, and even sneezes, among other things, over centuries. As the Reaper prepares to retire, brother-sister duo Mort (Julio Rey) and Diana (Akshara Gunda) must prove they have what it takes to take charge of the family legacy. With a book by Joey Orton and Brad Silnutzer, the story is multi-layered, very punny, not to say naughty, and reflective. Weaving in memorable characters that extend the reach between limbo and earth, like Tammy (Dana Costello) and Josh (Mateo Lizcano), as well as Norman (Jeremy Davis) and Death of Love (Jennifer Fouché).
I have mentioned in my previous reviews that we have been seeing both young playwrights and young directors across San Diego’s theatre this year. GRIMM joins that dynamic with Sammi Cannold, who in 2019 was named to Forbes 30 Under 30 in Hollywood & Entertainment and the youngest female director in American Repertory Theater history when she helmed the premiere of Celine Song’s “Endlings” that same year. Cannold directed this new musical with a cast and ensemble of over twenty members, musicians, effects, and the whole shebang. The two-and-a-half-hour musical with one intermission has twenty-two songs courtesy of Petro AP, Scott Hoying, Joey Orton, and Brad Silnutzer. The orchestrations are by John Clancy, and the arrangements are by Cian McCarthy.
Like any new musical, some songs work, and others need further development or rewrite. From the first act, titles like We Are the Deaths, Shot Glass List, and Death and Taxes were notable. I know my Britney, and if I am not mistaken, the song Morti-More during the second act was an homage to our princess of pop.
Powerful vocals and beautifully rendered notes shone throughout, thanks to Ted Arthur’s guidance in music supervision and direction. Akshara Gunda has an outstanding voice that harmonized beautifully and made it seem effortless while performing alongside Andy Blankenbuehler’s charged and detailed choreography. Julio Rey displayed grit and passion as Mort. Mateo Lizcano won everyone’s hearts as Josh. Jeremy Davis delivered comedy and tenderness as Norman. Paolo Montalban and Jennifer Fouché, as the Reaper parentals, added different layers across the plot, leaving the audience doubting and rooting. Dana Costello as Tammy is a force of nature from the portrayal to the vocal interpretation; with Krystal Balleza and Will Vacari‘s wigs (which I think made for another character on its own), Costello gave a very memorable performance. Diana’s wig is also very pretty, with manga/anime vibes. I don’t know why, but the roles of “life” and “birth” aren’t listed in the cast, and they were very memorable as well, along with the puffy, intergalactic-looking wigs and Paloma Young’s costumes charged with silver, red, and purple. The reapers wore snuggly cloaks, with baggy pants and thick platform shoes. Among the ensemble members, I want to say the roles of life and birth are between Valentine d’Arabian, Lili Froehlich, and Samantha Littleford.
Jason Sherwood’s massive set design of limbo, with different doors and steps that led to places like heaven or earth, was animated and lively, going hand in hand with Amanda Zieve’s lighting, which creatively highlighted the meaning of each action. Connor Wang’s sound created a concert feel, pumping up the performances and the special effects that lifted the core moments. The subtitle of this review states that the musical evoked several references, and by that I mean the design and the overall frame, as it reminded me of Monsters, Inc. because of the doors, Soul because of the blue and purple, and Sonic Live in Concert in the overall frame. If you are new here, welcome to my brain.
GRIMM is definitely a musical with the Gen Z feel, as it is poppy and thrilling. As theme parks invest more and more in live entertainment, this musical gave me that special vibe. Maybe it is because of the unknown and ethereal that I went there. Go see for yourself and let us know in the comments.
It is currently playing and has been extended until December 13.
Other ensemble members include: Aaron J. Albano, Alex Gibson, Kendyl Ito, Patricia Jewel, Sean Harrison Jones, Zachary Daniel Jones, Jaygee Macapugay, Fredric Rodriguez Odgaard, Jonathan Sangster, Bella Serrano, and Jazz Washington.
Swings: Travante S. Baker, Austyn Myers, and Nio Russel.
The Associate Director is Mary Cynthia McGowan. Associate Choreographer: Kamille Upshaw-Darrington.
The Stage Manager is Matthew Kurtis Lutz, with Assistant Stage Managers Alexa Burn and Jack Ganguly.
