Review: Martin and Brickell's Sweet and Pretty Broadway Bound Musical BRIGHT STAR Plays Kennedy Center

Grammy Award-winning musicians Steve Martin and Edie Brickell's new musical, BRIGHT STAR, will open on Broadway in March, but local Washington, DC theatergoers have the opportunity to take a glimpse at it now in a pre-Broadway engagement at the Kennedy Center. The musical, which premiered at San Diego's Old Globe Theatre, is a bit of a rarity among those currently aiming for commercial success on the Great White Way. Billed as a "wholly original new musical inspired by an astonishing true event," it contains the sweet and pretty kind of throwback story and music that differentiates it from many of today's contemporary musicals. That is, those that either push the envelope musically or thematically, or are likely to have mass appeal by virtue of being based off of a known quantity and/or featuring a catchy pop-rock score that allows performers to belt their faces off.

The heart of BRIGHT STAR is really about two people finding out who they are and dealing with the past so that they can move forward with the present.

Billy Cane (A.J. Shively) has just returned to his small North Carolina hometown following the end of World War II. He wrote stories throughout his time serving abroad, and is now ready to make a career as a professional writer. With his friend Margo's (Hannah Elless) encouragement, he goes to Asheville to seek publication in a reputable southern literary magazine. He uses a bit of creativity to get past gatekeepers Daryl (Jeff Blumenkrantz) and Lucy (Emily Padgett, last seen at the Kennedy Center in the 2014 pre-Broadway engagement of SIDE SHOW) and access the journal's surly but savvy editor, Alice Murphy (Carmen Cusack, last seen at the Kennedy Center in the national tour of SOUTH PACIFIC). Murphy, amused by his creativity, agrees to read his work. Several of Billy's stories get published when Alice takes the young writer under her wing, and it's clear the two have a connection.

This chance encounter with the young and eager talent leaves Alice thinking about the most painful moment of her past some twenty or so years earlier. As a headstrong teenager living in the backwoods of North Carolina, she fell in love with a boy from a prominent family, Jimmy Ray Dobbs (Paul Alexander Nolan). As tends to happen in these kinds of stories, one thing leads to another. Fearful that the "situation" will derail Jimmy Ray's future, Mayor Josiah Dobbs (Michael Mulheren) takes action to "fix" their mistake and set the two on alternate paths with more or less Alice's father's permission. Alice and Jimmy Ray do indeed take different paths in life - Jimmy becomes a successful businessman in Raleigh and Alice (thanks to an anonymous college scholarship) becomes a literary editor in Asheville. As Alice gets to know Billy better, secrets of the past are revealed and dots are connected. They both learn truths about themselves that will help them move forward, and find happiness both professionally and personally.

An extremely solid cast - led by Carmen Cusack in a role that should put her in Tony Award nomination contention - is among the musical's strongest assets, but so is the sweet story, and the folk-country music that's consistently pleasing to the ear. Although Martin and Brickell's story is an engaging and charming one, it is not wholly new or original in the sense that it contains elements we've probably all seen or heard before in other stage productions, television shows, and films. Still, it's easy to mostly look past that downfall because the cast stands ready to give emotional yet believable performances, especially Ms. Cusak. We become drawn into their Southern world, especially Alice's, thanks to their strong portrayals, singing, and Walter Bobbie's direction.

Although Steve Martin's time-shifting book is well-structured and written, there are moments when too much is given away in the first act, which dampens the potential emotional impact of the second act. Still - thanks again to the committed performers - we can still revel in Alice, Billy, and Jimmy Ray's sorrows and joys during the more emotionally climatic scenes later in the show.

Similarly, while I would have hoped that Edie Brickell's lyrics weren't quite so pedestrian/standard at times - one need not look further than the act two opener "Sun's Gonna Shine" for an example of her overuse of far too common imagery and ideas - the strength of the musical compositions makes the songs seem stronger on a whole than they probably are. August Eriksmoen's string-heavy orchestrations take us to the Deep South musically as Rob Berman's small, costumed orchestra plays them from within an onstage cabin (costumes and sets are well-designed by Jane Greenwood and Eugene Lee, respectively). The banjo (Bennett Sullivan) is featured prominently on many numbers, and several solo moments for the violinist (Martha McDonnell) are very much a delight. Although there are no standout numbers, the music consistently fits the story and the emotional tone, and adds a layer of interest. Catchy numbers like "Another Round" may not advance the story or our understanding of important characters, but they do provide opportunities for some fun choreography (Josh Rhodes) and for strong dancers like Emily Padgett to show off their skills and get a bit of applause.

BRIGHT STAR is essentially "the little musical that could" and I wish it well. Far worse has had a run on the Great White Way and kudos to Martin and Brickell for conjuring up something a little bit different from what we see today. Sweet and charming music has its place. Look no further than another musical with Southern charm - THE LIGHT IN THE PIAZZA.

Running Time: Two hours and fifteen minutes, including one intermission.

BRIGHT STAR plays at the Kennedy Center's Eisenhower Theatre through January 10, 2016. Tickets are available at the Kennedy Center website, in-person at the box office, or by calling 202-467-4600/800-333-1324.

Photo: Carmen Cusack pictured; by Joan Marcus.

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