Review: Writers From The Great North Are Eh-Mazing In NORTHERN EXPOSURE at 54 Below

Part concert and part pitch meeting, Northern Exposure at 54 Below was an effective example of the best new musical theatre that our northern neighbors have to offer. Presenting songs from their new musicals, composer Colleen Dauncey, lyricist Akiva Romer-Segal, and librettist Matt Murray, alongside sister duo Britta and Anika Johnson, gave us an intimate look at their art, and their wildly original concepts and complex scores were a welcome breath of fresh air. From pot growing Amish to ninety-two-year-old women with dementia being evicted, these teams gave me the gift of hope. Maybe the Canadians will bring us what we all desperately crave on Broadway: something truly original.

The creative team of Dauncey, Romer-Segal, and Murray proffered their new musical Grow, which enjoyed a highly-acclaimed premiere last spring in Ontario. The story of two Amish sisters who befriend a down-and-out cannabis grower while on Rumspringa (I mean, what a concept!), Grow is chock full of charmingly quirky characters, powerful ballads, and, of course, copious drug jokes. Featuring a cast comprised of Danielle Wade and Chilina Kennedy as the sisters, Alessandro Constantini as their entre-pot-neur pal, original cast member Izad Etemadi as the fiancee one of the sisters left behind, with Joel Cumber, Taylor Garwood, Kirstyn Russelle, Mitch Wood joining the creators to round out the ensemble, alongside Joshua Zecher-Ross accompanying, the audience was treated to five songs and a brief summary of the plot as it related to each respective number.

An impressively succinct snapshot of the show, I quickly found myself emotionally invested in these characters and a story that I, frankly, knew very little about. This easy connection was, in no small part, due to the excellent, all-out performances onstage. Izad's connection to the piece was clear, and his character work was divine. Chilina and Danielle were a power belting pair, and I couldn't get enough. Alessandro was one of my favorite parts of the night, so I'll talk more about him in a moment. As a delightful surprise for the audience (and utilizing the restrictions of the venue to her advantage), Colleen Dauncy accompanied herself on what would usually be a large group number, a move that I considered to be a smart and special addition to the show. Witty and innovative, it definitely seems that Grow is aiming to take root on this side of the border sometime soon, and I'm ready for it.

After Grow was given much love, Britta Johnson took the stage. Britta Johnson is who I want to be when I grow up; she's charismatic, funny, wildly skilled and can literally do it all. Her compositions evoke JRB and her vibe is that of the sister you always wanted. With songs from five (five!) different shows on offer, Johnson, and her sister (and sometimes lyricist partner) Anika showed off a heaping handful of songs that you would be wise to put in your audition book before anyone else gets their hands on them. Whether you're in the mood for sexy courtroom dramas set in early 19th century dance halls, or a sung-through, psychedelic, cult leader's funeral, The Johnsons have something for just about everyone. And then there were the performers! Britta showed off her range with everything from the deeply contemplative and quiet "Morning" to a pun-filled tribute to the horny teenager entitled "Let Your Hair Down, Ms. Weatherspoon." Alessandro Constantini, a particular favorite of mine throughout the night, gave a masterclass in storytelling and had everyone connecting to their inner outsider during "Happier Here," which you're sure to find in every tenor audition very soon. Joel Cumber was sexy, and intoxicated the audience while crooning "Al's Song," from Kelly v. Kelly. Kelly v. Kelly will actually be making a debut this May 26th in Toronto, and you can bet that I'll be doing my best to make it. Anika joined her sister on several numbers, providing vocals that would make any folk superstar jealous.

Perhaps the centerpiece of the night was a glimpse into a musical which has been not-so-quietly making its way around the country, Life After. Enjoying sit down productions at The Old Globe in San Diego and, more recently, the Goodman Theater in Chicago, it seems a Broadway run is impending. Grammy nominee Samantha Williams, who led the cast in Chicago, was a powerhouse as Alice, who is searching for the truth about the night of her father's death. I only had one thought while watching four numbers from the musical, which was "I just want to see this now." I can't wait! Give me the show! Everyone is perfect! Bryonha Marie gave raw and heartbreaking authenticity as Alice's mother in "Wallpaper," a piece that could go punch for punch on hard hitting, honest lyrics and intricate arrangement with any ballad by your favorite writer. There's so much more, but I really want you to look up this show and fall in love for yourself. The real magic of Britta is that everything makes sense. She makes creation - perhaps the most difficult, most godlike thing that any human can do - look easy. Her scoring and lyrics work together in a rare way that would be a gift to any performer. Britta is one of the most exciting new talents working on the scene, and I am thrilled that I will be able to say that I saw this performance, when she is accepting her umpteenth Tony award.

Surrounded by friends and loved ones, the creators and performers involved in Northern Exposure triumphed. I left hungry for more work by Dauncey, Romer-Segal, Murray, and the Johnson sisters. Let this review be an inspiration to you to go out and support new works, meet those up-and-coming composers. You'll thank me for it. There's just so much joy to be had in hearing something new, original, and exciting. Go!

Visit the 54 Below website HERE.

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