HeadVoice

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HeadVoice

Theatre 3, NYC, July 18, 2015

Reviewed by Rob Lester for Cabaret Scenes

Ethan-Andersen-HeadVoice-NYMF-Cabaret-Scenes-Magazine_212HeadVoice may be composer-lyricist-bookwriter (and star and pianist/sole instrumentalist) Ethan Andersen’s (pictured) first musical, but he’s obviously a sponge who’s soaked up what musicals are all about and has a love for them and their structuring. That love doesn’t prevent him from some savvy knowingness about their limits and perhaps unavoidable shortcuts and simplifications of complex emotions and characters. Welcome a new conquering hero! The immensely likeable show, presented as part of the annual festival of new musicals (NYMF) never falls too much in love with itself, despite its glibness and the songwriter central character young Mr. Andersen plays being a stand-in for himself. He’s joined by Nicole Dalto, Katie Emerson and Matthew Summers as the voices in his head advising, cajoling, and arguing—and presenting songs—while he writes and attempts to be true to his vision. Surprisingly, this device that explains the title surprisingly never gets old or tired. That in itself is almost a miracle, but this is not a show that relies solely on its conceit as clever gimmick. The performers are all engaging and sharp, react nicely to each other, and quintuple-threat Andersen himself (and as his character) is a real find. His songs are well crafted and varied, polished, and can go for the heart or funny bone equally well. (I want a cast album now.)

Stated in the play to be an autobiographical musical-in-progress by a writer who is content to avoid that world outside his door, we watch and are entertained as its components are written by committee. At any moment, the voices in his head spring into action. Everyone’s a critic. What should each song be and who should sing it? And the in-his-head voices naggingly point out when he’s not being honest or presenting “their” take?

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You don’t need to be a writer to relate; in other life decisions interacting with people, don’t we have inner monologues and various potential comments forming in our brains, options of things we might say just before we do? We constantly self-edit.

The piece has a sweetness and true affection for its elements that allows it to avoid the super-smugness of other pieces that are self-referring to musicals as a genre and specific shows. Andersen doesn’t overdo the nods to shows of the past, but when he quotes one for a couple of seconds, it is a cute treat. Appropriately agreeing with the common wisdom of “Write What You Know,” the advice gets a P.S.: “…but make it better.” We also wonder if some such artistic license allows for photoshopping one’s actual autobiography to ease pain.

Called Eric here, the songwriter presented has mommy issues. A nontraditional and forceful single parent, she depends on pills and maybe other ills to get through life, and might reasonably send our hero to a therapist’s couch when he’s not at the piano bench to sort through causes for any writer’s block or other troubles. More cheers for avoiding easier choices of painting Mom as all negative, and Nicole Dalto’s shaded and weighted characterization adds to the depth. A late-in-the-game (of high stakes) stare-down is poignant and well played.

Gentle spirit Matthew Summers stands in for many of the writer’s adventures, if only not to tie the songwriter down to sitting down at the piano (and to seem to be composing while we wait, rather than merely accompanying).  Katie Emerson is a free-spirited live-wire sprite who calms down effectively to be thoughtful as a youthful love interest, with the break-up slow and painful, its causes suggested, but not crystal clear.

It’s presented as one act, but I think the show could stand an intermission. There’s a line included that would be the perfect cue if used earlier. One of the voices suggests they need a little break from the intensity. While this cues instead the respite of the genial “Happy Song,” it could set up an intermission as simply a coffee break that any writer can use. I don’t think the audience would lose the momentum. My other constructive criticism is that the cries along the line of “Stop it. You are just voices in my head—that’s all,” are done a couple of times to often. (Singing the line “We’re your head, boy” to the tune of the title number of Dreamgirls is a clever variation.) I think the audience gets it soon enough. (The use of a common accent color in the costuming of the voices to match the writer’s shirt are a nice touch to coordinate that, too.)  Director/choreographer Charlie Johnson’s touch never gets too heavy-handed and is blithe and simpatico.

Cartoony black-and-white two-dimensional props and costume pieces add a winsome quality.

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(No credit is given for whose ideas or execution they were.) Color comes brightly with Alicia Varcoe’s winning lighting design, light cues at the God-like will of the writer freezes and starting action at the snap of his fingers. I hope all of the above encourages the voices in YOUR head to head for 311 West 43 Street in Manhattan where HeadVoice voices many reasons to enjoy the start of a smart and tart writer/performer’s musical theater career. Other voices in talented Ethan Andersen’s work have found the New Orleans native working at 54 Below and the director will be there reprising his own club act, which he did at the Metropolitan Room. I expect big things from both of them.

 See www.nymf.org for the festival’s schedule of many events, concluding July 27.

Rob Lester

2015 is native New Yorker Rob Lester's eighth year as contributing writer, beginning by reviewing a salute to Frank Sinatra, whose recordings have played on his personal soundtrack since the womb. (His Cabaret Scenes Foundation member mom started him with her favorite; like his dad, he became an uber-avid record collector/ fan of the Great American Songbook's great singers and writers.) Soon, he was attending shows, seeking out up-and-comers and already-came-ups, still reading and listening voraciously. He also writes for www.NiteLifeExchange.com and www.TalkinBroadway.com, has been cabaret-centric as awards judge, panel member/co-host, and produces benefit/tribute shows, including one for us.