Wanted

Book and Lyrics by Angelica Cheri

Music by Ross Baum

Directed by Stevie Walker-Webb

At the James Earl Jones Theatr

When you are theatre addict, as I am, sometimes you see back-to-back productions that are so different that I wonder what my tastes actually are.  That was definitely the case seeing the new musical, “Wanted,” on Broadway followed by a new play (at least to NYC), “The King of the Yees,” at one of my favorite Off-Broadway companies, the Signature Theatre.  One was an unimaginative conventional musical, the other a laugh-out-loud, break the fourth-wall, exploration of American-Chinese culture in San Francisco.

“Wanted” is an old-fashioned musical in the tradition of “Bonnie and Clyde” or “The Robber Bridegroom.”  This one purports to present a serious portrait of the horrific treatment of formerly enslaved families during post-Reconstruction period in the late 19^th Century.  Two beautiful young women who can pass for white, due to their mother’s misguided relationship with a French man who, of course, deserted her. The mother struggles to earn enough money to buy the land she harvests on her former plantation to attain financial independence. This, of course, is blocked by the racist landowner and descendent of the southern aristocracy. So, the two girls decide to leave their momma to pass as white and steal money supposedly to help the mother ‘s purchase.

The first act follows the “wanted” girls as they sing typical pop sounding songs while committing crimes stealing money.  There is a sort of chorus, dressed in flowing white costumes, that walk into these scenes singing in the style of a Black Church Gospel Choir, seemingly commenting on the girls’ fall from grace. The second act focuses on one of the sister’s marriage to a white racist named Jesse.  But don’t worry, the girls take care of him and there is a happy ending that I would not want to spoil, should you want to see a mediocre musical.  BTW – Before the curtain rises, we are told over the speakers that the show is partially based on a true story, in case you “wanted” to know.

If my comments sound too negative, they certainly do not apply to the cast who perform the indistinctive music wonderfully.  Solea Pfeiffer and Liisi LaFontaine, sing with power and lyricism, even though their songs are less than hummable. The Grammy Award winning Ledisi, as the mother, is terrific. Her powerful four-octave mezzo-soprano voice brings down the house performing her Gospel-like numbers.  And the Black Choir called “Kinfolk” sing their commentary with might and soulfulness, even though we can understand very little of what they are singing.

In fairness, the audience appeared to be having a good time at this preview close to the opening. The direction by Stevie Walker-Webb and limited choreography by Chelsey Arce are competent. Beowulf Boritt designed a flexible unit set that is supplemented by moody projections at the back of the stage by Stefania Bulbarella.  But for me, the story just did not engage me and the performances did not make up for the lack of originality.  Pleasant, but forgettable.