“What’s in a name?” as a Shakespearean somebody once said. Yet it’s not inconceivable to expect that a new musical called Superhero might offer audiences a dynamic story, revved-up tunes, and generally some fun, rock-em sock-em entertainment.
That’s not at all the case with the Superhero musical that opened on Thursday in a Second Stage Theater production at the Tony Kiser Theater. Perhaps a more appropriate title for this subdued little tuner would be The Man in 4-B.
The fellow in question is Jim, an unassuming bus driver who lives in the same building with Charlotte, a youngish college instructor, and her 15 year-old son Simon. Two years after the accidental death of her husband, Charlotte is still trying to pick up the pieces of her life, while the disconsolate Simon busily scribbles away at making graphic comics about a superhero.
[Read Melissa Rose Bernardo’s ★★★ review here.]
Hanging out on the fire escape, Simon observes an incident that causes him to believe that the quiet, diffident Jim is somebody incredibly greater than what he appears to be.
Let’s not give away more of this story except to note that Simon’s curiosity regarding his shy neighbor causes Charlotte and Jim to try dating. The growth of their tentative relationship as well as Simon’s mooning interest in Vee, a bright classmate, are plot elements that are musicalized further in the show’s second act.
So is the revelation of Jim’s true identity, which is at once astonishing and disappointing.
Superhero is a capably crafted, agreeably performed, and fairly dull musical that fails to make the entertaining most of its undeniably original idea.
Rather than developing a high-flying show about grabbing second chances, overcoming limitations, and finding some personal satisfaction with the achievements, no matter how relatively minor, that one manages to attain in life, the makers of Superhero end their plaintive story pretty much where it began as a bereft woman promises her grieving son that someday together they will get beyond their sorrow.
And, oh yes, the biggest laughs in the entire two-hour show involve quinoa.
One expects at least a livelier attraction here, considering the sterling credits of the Superhero makers: The book is by John Logan, author of the award-winning Red as well I’ll Eat You Last and Never the Sinner. The music and lyrics are composed by Tom Kitt, whose Next to Normal nabbed the Pulitzer Prize. The director is Jason Moore, stager of Avenue Q and The Cher Show.
A note in the Second Stage program states that Superhero was developed in 2017 during a residency at the Eugene O’Neill Theater Center’s National Music Theater Conference in Connecticut. Gosh, what the heck were they drinking up there in Waterford—Lithium?
If Kitt’s easygoing, generally understated, Superhero songs tend towards wistful and melancholy in their emotional expressions, his lyrics are neatly turned and germane, and they sometimes are enriched by offstage voices. Logan’s script, though unrelievedly drab and recalling Dear Evan Hansen in its basic mother-son situation, is forthright.
Moore provides a smoothly fluent production that is framed by half a dozen askew portals in designer Beowulf Boritt’s urban setting that may tempt a disinterested viewer to wonder what different story angles the writers might have more profitably explored.
Chris Fisher, who designed several illusions, delivers a whiz-bang split-second effect that ends the first act on a smashing note certain to wake up any drowsing customers. Another asset to the production is designer Tal Yaden’s animated graphic projections depicting the comic book characters that Simon sketches out.
While their material is scarcely inspired, the performers make the show’s bland doings easy to swallow.
Kate Baldwin, with her bright voice and brisk naturalness, lends personal radiance to the pensive, irresolute Charlotte. Baldwin’s glowing vocals blend especially well with Bryce Pinkham’s shining tenor, suggesting in their duets that Charlotte and Jim might pair off as a future couple. The role of Jim is underwritten—he needs a more imaginative song to explain his character than the bleak “It’s Not Like in the Movies” number he gets here—but at least Pinkham gives the guy some essentially niceness. Salena Qureshi is agreeably assertive as Vee. Kyle McArthur gives a believable, even touching, performance as Simon, a gawky teen who dreams of being somebody’s sidekick.
They deserve better things to do with their valuable time, and so does the audience.
