Great Cohesive Music, Outstanding Voices, and a tad Formulaic.
I never saw the movie version of Begin Again. I like it when that is the case and can go in like a blank canvas, not knowing anything, because I was not familiar with the plot either. The Old Globe just celebrated the world premiere and pre-Broadway engagement of the musical version of Begin Again, with music and lyrics by Pat Monahan and the band Train, and book by Jenna Clark Embrey and Molly Beach Murphy.
Gretta (Emma Busse) is a songwriter and just moved to New York with her aspiring singer boyfriend, Max (Kevin William Paul). When the birthday song Gretta wrote for Max gets picked up for a big music label contract and album, even though Max in the beginning sort of vouches for Gretta, she gets left out. As Max gets dragged into the whole biz labyrinth, amongst other things, Gretta gets put on the spot to sing one of her songs at an open mic by her best friend and analog enthusiast Stevie (Casey Whyland). Music talent scout Dan (Patrick Heusinger) catches the performance and puts his faith in Gretta as the next breakout star. With no budget and no studio to record a demo, how will it all come together?
Derek McLane’s set design was practical, with sketched-looking buildings of New York City that came and went with prompt settings like a bar, couch, or a kitchen counter to frame the scenes. For me, the real novelty was Skylar Fox’s fun, cute illusions involving basketballs, records, and sheets of paper. Amanda Zieve’s lighting was bright and lively, matching the vibe and sound design by John Shivers. Linda Cho’s costume design is fun, with a rocker flair that accentuated each character’s essence. My favorite pieces were Gretta’s, Kate’s, and Stevie’s, with the lace, Doc Martens, and the cowboy boots.
The music feels loud, but it is truly vibrant and animated. Being a mix between a concert and an open mic night at a dive bar, also courtesy of David Bengali’s sound projection design. There is a brief back-and-forth in the timeline, which also added to the cool effects section, and I will not speak to it further due to possible spoilers and you getting to see it, dear reader.
The cast’s vocals are solid, but Emma Busse’s voice is outstanding. The potency, the range, and the interpretation were strong and on point. I do think her blocking and pacing could be smoother. Casey Whyland as Stevie is hilarious, and it was wonderful to see how Stevie conveys the beauty of analog and raw sound. A pertinent reminder for these times. Patrick Heusinger is passionate as Dan, having charming scenes with his onstage wife Miriam (Adrienne Walker) and daughter Violet (Charlotte MacLeod) through cool songs like Fake Flowers and Twilight Summer Sky. Nik Walker as Saul, Dan’s former business partner, brings laughs and a bit of suspense, which keeps the plot interesting. Kevin William Paul as the new pop sensation, along with David Neumann‘s choreography, makes for one of the funniest (and most accurate) scenes. I also need Kevin’s arm routine (asking for a friend).
The ensemble did an amazing job. Erica Swindell as Kate and her violin interventions pumped up the love for music and artistry, as did Kelly McIntyre as Phoebe, trotting her piano all across Manhattan.
Other ensemble members include Matt Cusack, Logan Farine, John Krause, Kate Louissaint, Ana Marcu, and Eric Shawn.
The musical has 25 songs, and for a debut piece, the thread is there, along with a consistent sound. The soundtrack is easy to visualize and play in my car with no issue.
As I often mention in reviews of an artist’s journey through the stages, it is cool to see Lorin Latarro expand from choreography to direction. Her cohesive direction brought the various elements together, letting them work harmoniously and in parallel. For a rom-com style of story, this approach worked. I understand the intense work and time invested in projects like these; however, some moments did feel formulaic and commercial. Like a paint-by-numbers manual for musicals destined for a Broadway run. Because these productions have a traced destiny, they’re sometimes packaged too tightly instead of given room to breathe. But hey, what do I know? I’m clearly not “official” Critics Lab material. Still, from my seat in the audience, the formulaic structure was hard to ignore.
It’s also a privilege to have a Broadway-bound piece in the works at home and to witness its artistic journey, so go see it for yourself, dear reader, and let me know what you think in the comments. I always love when you stop by and say hello.
Begin Again is currently playing and has been extended until October 18.
Music supervision, arrangements, and orchestrations by Brian Usifer. Additional music and lyrics by Jerry Becker and Matt Musty; music direction by Matt Deitchman; wig and hair design by Alberto Alvarado; casting by Carnahan Casting, Jim Carnahan and Liz Fraser; and production stage management by Bonnie Panson.
