This critique is
adapted from my review of the Off-Broadway production.
When a hit
musical transfers from Off-Broadway to Broadway there is always the trepidation
of whether it will succeed artistically and commercially. Fortunately, these
fears are unwarranted for the captivating musical, The Band’s Visit, which reopened this month uptown. There
is still the poetic charm and dreamy quality of the original production that
does not sacrifice the show’s intimacy and warmth.
The musical
centers on the Egyptian musicians of the Alexandria Ceremonial Police Orchestra
who are invited by the Arabic Cultural Center an Israeli town. However, through
a miscommunication, the group ends up in the wrong locale in the middle of the
Israeli desert. With no bus service until the following day, the group ends up
stranded in the sleepy town with little money and options. Thus begins the
24-hour odyssey of the Arab entertainers as they become warmly and enchantingly
intertwined with the lives of some of the residents.
The show, based
on the 2007 film of the same name, focuses on three ongoing vignettes between
some members of the band and the Israeli citizens. They are poignantly
portrayed, sometimes amusingly and at other moments with deep wistfulness. What
comes forth is how much alike people are, no matter what their background and
beliefs.
As he has
demonstrated throughout his theatrical career, composer David Yazbeck’s score
is inventive and full of surprises. There is no full-throttled production
number like “Great Big Stuff” from Dirty Rotten Scoundrels or “Jeanette's
Showbiz Number” from The Full Monty or “Tangled” from Woman on the Verge of a
Nervous Breakdown. The songs form a gratifying whole that come across as more
heartfelt and revealing with influences of Arabic and Klezmer music from
beginning to end.
The cast is led
by Tony Shaloub as Tewfiq who, at first, appears as a gruff, autocratic leader
of the police orchestra. As the play progresses and the actor begin
interacting with the residents, especially the beautiful and alluring Dina, he subtly
begins to change, becoming more reflective and reminiscent under the desert
moon. While not endowed with the most dynamic vocal chords he, nonetheless,
suitably conveys his plaintive yearnings and passionate longings. Katrina Lenk,
an absolutely enchanting performer, has a lovely and seductive voice. She plays
the shop owner, Dina, who is a resilient, no-nonsense Israeli. As with Tewiq,
she initially comes across as dispassionate and tough. But as the magic of the
day progresses the actress becomes more absorbing and reflective, delivering a
nuanced, fuller portrayal of a woman stuck in time with little options open to
her. John Cariani is a little too over-the-top as the husband Itzik, whose
man-child antics cause a seemingly irreconcilable riff in his marriage. Ari’el
Stachel comes across, initially, as a lumbering, boorish Casanova as the
trumpeter Haled. Yet, as with the other characters in the play, the actor
deftly sidesteps our introductory thoughts and develops into a more
ingratiating and charming person.
Director David
Cromer plays up, at first, the drama caused by the sudden confluence of the two
disparate groups. But as the wariness quickly dissipates he brings into focus
the relationships that slowly develop among the denizens of the small town and
the traveling troubadours. It’s the stories that draw the audience into the
rhythms and flow of the action on stage. This is an intimate piece of theater
and Mr. Cromer, smartly, does not incorporate any unnecessary embellishments.
Scott Pask’s
scenic design of an austere, unadorned, rotating structure in the center of the
stage reminds us of both the plainness and stark nature of the resident’s lives
and that life is a circle that continually revolves. Sometimes we have the
option of getting off, but other times the choice may just be fleeting.
The Band’s Visit,
a heartening and bewitching new musical.
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