It’s
here, ladies and gentleman: Jason Robert Brown’s return to Broadway. And it
just so happens that he’s provided us with the most intensely romantic score
since Adam Guettel’s The Light in the Piazza.
There’s
a difference here, though. While Piazza gently floated on the wind with a
classical sensibility infused with piano, strings, and harp that touched us in the
heart, The Bridges of Madison County has a musical approach that’s more
muscular… it virtually punches us in the gut. It reflects a type of love unlike
the innocence of Fabrizio and Clara, two naïve young people from two different
worlds. The romance between Francesca Johnson and Robert Kincaid is one of
forbidden love, a deep and complex affair that oozes with palpable danger and
sexuality. And Jason Robert Brown’s work reflects that in a way that few other
composers today could achieve. If Brown hadn’t written the brilliant score for
Parade, I’d say Bridges is his most significant contribution to musical theatre
to date.
Interestingly, some of Bridges is quite reminiscent of Parade (One song, in fact, opens with a
string arrangement that reminded me instantly of ‘People of Atlanta’). The bulk
of Brown’s score is rooted in the story’s setting of Madison County, Iowa,
giving it a country flavour while other complementary songs are written in
styles such as classical, blues, and folk. There are soaring ballads, powerful
anthems, and contemplative soliloquies that are compelling and affecting. The
score isn’t afraid to defy all typical convention as well… rather than
aggressively pulling us in with a pounding, flashy opening number, Brown opted
to start the show with 'To Build a Home', a gentle aria sung by the remarkable
Kelli O’Hara as Francesca. It quietly invites and draws us in rather than
beating our heads into attention. Similarly, the musical doesn’t end with
fanfare and a showstopper… it concludes on quite a poignant note that is just
as memorable as a big crowd pleaser would have been.
The
accomplishment of the show’s talent-packed cast is as excellent as the
score itself. Kelli O’Hara proves she can do no wrong in another stunning vocal
performance as Francesca, her bright soprano’s quality unaffected by a quite
perfect Italian accent. Little needs to be said of Ms. O’Hara, who turns in
consistently excellent work. All we can hope is that this role earns her the
Tony win she more than deserves. Steven Pasquale as Robert is a revelation, a
hidden gem of a singer who is finally given the job he deserves, gifted with
songs that push his range vocally and emotionally. Pasquale achieves both with
skill and aplomb. For an untrained vocalist, Pasquale’s robust, dramatic, legit
tenor is remarkable, even chill-inducing. A highlight of the score is
when O’Hara and Pasquale duet in the intense 'One Second and A Million Miles',
with a pounding underscoring that is urgent and sensual. Both performers make
this piece endlessly riveting, and you just might get goosebumps when Pasquale
gets a moment of a capella singing that propels him into a deeply felt ballad of
passionate yearning.
The
supporting talent is just as terrific. Hunter Foster turns in a layered and
well-sung performance as Francesca’s American husband Bud, shining the most in the
theatrical country tune 'Home Before You Know It'. As Robert’s wife Marian,
Broadway newcomer Whitney Bashor has a gorgeous voice that adeptly carries the
Joni Mitchell-esque folk song 'Another Life', making it one of the score’s
undeniable highlights. The other supporting roles of the cast, including Derek Klena,
Caitlin Kinnunen, Cass Morgan, and Michael X. Martin do beautiful and memorable
work in smaller moments. It’s a uniformly strong cast.
Sh-K-Boom/Ghostlight
Records have done their usual outstanding job immortalizing the score for The
Bridges of Madison County, and we have Brown to thank for being one of the few
remaining composers who doesn’t simply write a score for commercial value. He
proves there’s still room on Broadway for substance over style. And the results
are inarguably timeless.
No comments:
Post a Comment