Todd Murray & Stacy Sullivan: Separate Ways

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Todd Murray & Stacy Sullivan

Separate Ways

Feinstein’s/54Below, NYC, October 4, 2016

Reviewed by Marilyn Lester for Cabaret Scenes

Photo: Maryann Lopinto
Photo: Maryann Lopinto

If there’s a revolution under way in the world of music, Separate Ways is on the barricades. The show is a courageous foray into new cabaret territory—a modern short-form cantata. Separate Ways is the lyric-driven journey of an everyman and everywoman through the dissolution of a relationship. The drama is told sans dialogue via carefully curated songs and the totally committed acting of the two creators and principals, Stacy Sullivan and Todd Murray. For those willing to abandon themselves to this territory of angst, the rewards are manifold, and the bounteous payoff is one not quickly forgotten.

Musical Director, arranger and pianist Yasuhiko Fukuoka has taken individual musical numbers and woven them into a brilliant tapestry of moods to mirror the unfolding of the story. The ensemble of strings: Troy Fannin (guitar), Bobbie Lee Crow III (cello) and Alexandra Jenkins (violin) provide a small orchestral wonderment in supporting Sullivan and Murray, first setting the tone with an instrumental mood piece. With the opener, “Ice on the Hudson” (David Hajdu and Renee Rosnes, arranged by Sullivan), and the suspicion that her man is cheating on her, Sullivan immediately reveals emotive perfection and a flexible voice with graceful range. Murray with “Strange Birds” (Lance Horne), the man’s side of the story, similarly shows vocal depth and emotional power.

As the story unfolds, the couple confronts “Separate Ways” (Teddy Thompson) and “Dividing Day” (Adam Guettel).
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Each alone now, in the aftermath, the man is at a loss: “Might As Well Get Stoned” (Chris Stapleton) and “My First Night Alone Without You” (Kin Vassy); but the woman is defiant. A truculent, countrified “Goodbyes Don’t Get Any Better Than This” (Stacy Sullivan/Jennifer Paige) yields to the sorrow of a dirge-like “Good Morning Heartache” (Irene Higginbotham/Ervin Drake/Dan Fisher). Inevitably, there’s a stab at reconciliation: “Send My Love (to Your New Lover)” (Adele Atkins/Max Martin/Johann Schuster) and “The Taxi Ride” (Jane Siberry). On the way to the finality of the relationship—“River” (Joni Mitchell) and “End of the World” (Matt Alber)—Sullivan and Murray take no prisoners, with solos such as Sullivan’s intense and driving “Cry Me a River” (Arthur Hamilton).

The success of Separate Ways lies as much in its truth-telling and keen observations as it does in the palpable chemistry between Murray and Sullivan, and their willingness to let every raw emotion be heard and seen (their body language is superb). Direction by Michel Wallerstein intelligently makes use of the cabaret space in toto, perfectly placing Sullivan and Murray to mirror the push-pull of the relationship. For those who want to be thrilled by a show that’s immersive, fresh and daring, Separate Ways must be seen. Yes, it grips you and won’t let go, but it also wisely ends on a positive note. The post-thank you encore is an upbeat “They Can’t Take That Away From Me” (George and Ira Gershwin).
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Yes, wounds heal and life goes on nicely, thank you.
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Marilyn Lester

Marilyn Lester left journalism and commercial writing behind nearly two decades ago to write plays. That branch in the road led to screenwriting, script-doctoring, dramaturgy and producing for the stage. Marilyn has also co-authored, as well as edited, books. It seemed the only world of words she hadn’t conquered was criticism, an opportunity that presented itself via Theater Pizzazz. Marilyn has since sought to widen her scope in this form of writing she especially relishes. Marilyn is a member of the Authors Guild, Dramatists Guild, Women in the Arts and Media and The League of Professional Theater Women.