Death: The Musical To see a fresh, new, unknown musical you usually have to jet to New York or hunt down an out of town try out. But in Dallas? Talk about rare. But it seems Pocket Sandwich Theatre (nestled in a strip shopping center) has taken a detour from their usual popcorn-throwing melodramas to mount a new musical penned by local playwright/musical director/actor Scott Eckert titled Death: The Musical. The basic premise is a show within a show murder mystery. We watch a theater troupe putting on a stuffy British play, but in real life, the actors are being murdered either on stage or backstage. It's a mélange of Agatha Christie, Curtains (the Kander & Ebb musical about a cop investigating a murder), Musical Comedy Murders of 1940 and a dash of the horror film Final Destination. Thrown into this potpourri is a bounty of comedy with a contemporary sense of humor. Eckert's set-up is basic; however the weakest act is the last one, when the murderer is revealed—in the same vein as Christie's plots when her lead character tells us how they did it and why. That could use more polish, redefining, and more of Eckert's comedy that soars within the first two acts. Also, the first act's exposition could use some editing and retooling. But the framework is there, and it is overflowing with excellent comedy. I never knew that Eckert had this great sense of humor! The book and lyrics are downright hilarious. The word rare again comes to mind—so many books for musicals just don't get it anymore. Eckert's for the most part does. The score is an amalgamation of Sondheim, Michael John LaChiusa, and even some old fashioned vaudeville. The songs are highly enjoyable with perky, pleasurable music. Eckert had to have been influenced by many a composer, what with him conducting their scores from the pit. But you also hear Eckert's own unique voice, one that shows great promise. Instead of trying so hard to be "eclectic" like so many of today's composers, he simply composes songs that are terrific and enjoyable to hear. The lyrics in several songs hit the comedic bull's eye dead center. They are clever, scintillating and wickedly hilarious. I was particularly impressed that he didn't fall into the trap of having every line rhyme at the end. Several of the solos are composed to perfection for character development and plot flow. The score could use a couple more full company numbers. And Eckert overlooked a great duet opportunity that I think he would have had fun composing. The servants tell the audience and cast how tired and fed up they are and how no one notices them or cares if they are alive—they are just invisible. With Eckert's delicious sense of humor, I think he could compose a show stopping number of how these "actors playing servants" really feel. For this production there are only keyboards. But the music is rich and textured, and really deserving of full orchestrations to show the finesse in Eckert's writing. What also hinders the production and the possibile expansion of the physical elements is the playing space. Pocket Sandwich is a small theater with no fly rail space or large stage. Eckert needs a larger stage so he can more fully explore the great physical comedy that is already there. One sight gag is already killed because you can see it when you walk in. Also, the knives that pop up blend in color with the set, so you have no idea one actor has been killed until a cast member states it. The entire cast delivers a knee-slapping, gut-busting evening of laughter. Sure, their British dialects occassionally disappear and there are a few minor line flubs (particularly in the third act), but overall they sell the material with solid commitment and fun. Sara Shelby-Martin chews the scenery with glee; it's like watching a female Nathan Lane in a silver satin gown. As the bitchy diva, Ms. Martin relishes each comeback line or backstabbing comment, savoring the reactions from her delivery. She circles each female on stage like she's the vulture, and they are the pigeons. And it is Ms. Martin leaving the stage with a couple of white feathers in her mouth—and a delicious wicked grin. She easily has the best singing voice in the company and a fantastic 11:00 O'clock number called "I'm Going Back". Think of "I'm Still Here" from Follies. Ms. Martin never fails to impress me with her talents. Loree Westbrooks should be arrested by the comedy police for stealing this show with her hysterical performance as Stacy/Clara. A combination of Carol Burnett and Christina Applegate, Ms. Westbrooks generates some of the best laughs of the night as the soubrette. Her facial expressions are priceless, and her physical comedy moments are dead-on, resulting in the audience applauding after one such hilarious bit. Her big solo "I Can't Do This" is familiar to "Another Hundred People" from Company and Ms. Westbrooks handles the rapid patter wonderfully. As Derrick/Alex, Tony Martin delivers a first-rate comedic performance as the one man who becomes a chicken when the murders occur. His second act work is pure tour de force comedy. I won't spoil it for you here, but it is hilarious. I've never seen Jonathan McCurry in a major role, so it is a terrific treat to see him display talents that have never been shown. He portrays Jake/Damon/Edgar, who in the play are twins. With a devil may care swagger and egotistical aura, he radiates within his characterization. And he has one of the best numbers of the night (musically, lyrically and in its staging). Called "You've Never Really Lived til You've Died," it's a dazzling character number that McCurry sells with solid showmanship. It is the only solo that has choreography and lots of movement, which I loved. McCurry is marvelous here. Other swell performances include Alexis Nabors as the sexy ingénue (she's a brunette, but the character screams blonde); Jad B. Saxton as the wealthy niece (she has some fantastic physical comedy in the second act); M. Shane Hurst as the butler Forsyth; Samantha Bianchini as the female cop Perkins; and Charles E. Moore as detective Hardman. This is still a work in progress musical, but I sincerely hope the producers around town will catch this musical; it really is worth mounting a much richer physical production. The material is there and it is laden with laughter. Death: The Musical plays through June 27. If you want to laugh non-stop and see a spanking new musical, then rush to PST and catch this show. Death: The Musical by Scott A. Eckert at Pocket Sandwich Theatre through June 28, 2009. Performances Thursday, Friday, and Saturday at 8:00; Sunday at 7:00. Food and beverage service available one and a half-hours before show time. Pocket Sandwich Theatre, 5400 E. Mockingbird Lane, Suite 119, Mockingbird Central Plaza, one block east of Central Expressway. Thursday, $10.00; Friday, $15.00; Saturday, $18.00; Sunday, $12.00. Two-dollar discount for senior citizens and children 12 and under. Group rates available. Call 214-821-1860 for reservations and information. Running time, approximately 2 hours and 15 minutes (including intermission). Death: The Musical (World Premiere) Cast: |
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