A Review by Barbara Mehlman and Geri Manus.
"Passing Strange," the title of a new Broadway musical that comes here via Joe Papp's Public Theater, is an odd phrase that dates all the way back to Shakespeare. In Othello, the Black moor himself says of Desdemona that "she gave me for my pains a world of sighs; she swore, in faith, twas strange, twas passing strange." Seems like the idea of passing, and passing strange itself, has haunted the Black culture in all its ramifications for centuries, and Stew, the show's composer and lyricist, has made it something to sing about.
Stew's version is a blaring rock 'n' roll musical exploration of stereotypes, identity crisis, and adolescent angst, labeled by Stew as "autobiographical fiction." The main character, Youth, struggles not with racism per se, but too much mother' love for his young wannabe manhood. He feels an urgent need to shed his privileged lifestyle so he can be free to seek his true artistic spirit elsewhere. Heard this before?
Like Pippin, the forlorn fictional son of Charlemagne in the musical of the same name, Youth sets off to find his own "corner of the sky," which, he believes, is somewhere over the rainbow. Or Europe. Rejecting his church-going roots, his middle-class upbringing, and his mother's entreaties, Youth sets out on a quest for whatever.
When he finally lands in "Amsterdam" (one of the show's biggest numbers), he realizes he's no long in the insular community of south central LA. The Bohemian rhapsodies he learns there, and in Berlin, scream more revolution than the streets of Watts ever could, and yet, Youth doesn't quite fit in. Can't "pass" there either. Too Black? Not Black enough? Songs like "Identity" and "The Black One" emphasize his confusion and help lead Youth toward the inevitable conclusion that, ultimately, he must trust his inner voice and follow it homeward.
The freedom of expression he experiences on his European journey is mind-blowing, as is the music which cranks up double-digit decibels with each step he takes towards maturity. And just when you think it couldn't get any louder, it does, till it verges on an "Acid Queen" deluge of pounding guitar and drums, synchronized with Youth's sexual awakenings. To be sure we didn't miss any meaning, however, psychedelic lights simultaneously stab at our senses to make this Youth's confusion visual -- all that's missing is the strobe.
Daniel Breaker as Youth reminds one of a young Ben Vereen, minus the Bob Fosse choreography. But Stew, as both narrator and musician, is the focal point of this concertized ensemble production, and his enormous presence tends to eclipse the other characters. That's not a major problem, though, since the talented youngsters in this musical are strong performers anyway -- it's the concert format that's the major flaw.
"Passing Strange" is, in actuality, a concert with a story, which is most strange since there was never a musical with costumes and sets and stuff like that the first place -- how most of us think of a musical. What we see on stage are a few musicians, and actors sitting in chairs who move downstage, and sing and dance to dramatize a part of Stew's story as his narrative progresses.
Though this is all very intimate in nature, something that could be played out in a large living room, the music is more suited for Madison Square Garden. More than one senior citizen was seen leaving the amped-up theater at intermission. Those who stayed were probably hearing impaired.
Instead of billing "Passing Strange" as a rock 'n' roll musical, it might be more appropriate to sell this production as a concert depicting the stages of Youth, particularly, Black youth, in late 20th century America. It is a dynamic musical that vibrates right to your heart. Bring ear plugs if you must, but leave your mind open. If time for change is here, as our politicians tell us, then Stew is one huge change agent.
Barbara Mehlman & Geri Manus
