To say that there is a kinetic thrill emanating from the stage of the St. James Theatre at present is something of an understatement. What you get in David Byrne’s American Utopia is a hundred-minute jolt that stays with you long after you’ve exited onto 44th Street.
Byrne fans will know, presumably, what to expect from the New Wave musician. And yes, he delivers with a premium grade high octane performance. The question, though, is how does American Utopia fare with theatergoers more accustomed to—and comfortable with—what you might call old wave music?
Like a thousand-watt thunderbolt, bringing a keen appreciation of Byrne and his artistry.
[Read Frank Scheck’s ★★★★★ review here.]
Here we have what is basically a non-theatrical musical revue, steeped in stunning theatricality. A concert performed on what is basically a three-sided rectangle devoid of the merest scenic apparatus, yet filled with eye-popping visuals. A cast consisting of one songwriter plus 11 musicians, without a traditional theater-performer in sight. Yet this is the most energetic, dancing-est Broadway show this side of Moulin Rouge!
Byrne first treaded theatrical waters with the stunning Here Lies Love, which triumphed at the Public Theater in 2003 but was unable find a feasible venue to allow an extended run. American Utopia was devised as a 2018 concept album. The traditional concert tour left Byrne and cohort wondering whether the presentation could be reconfigured as a legit piece.
And how! The theater version opened to high acclaim in October 2019 for a limited four-month engagement at the Hudson. Plans to bring it back in September 2020 were upended, just like everything was upended in those dark days. American Utopia is now back in town, at the considerably larger St. James, for another six-month run.
The same, but somewhat different. Certainly, Byrne’s ongoing commentary has been altered to reflect the changing times. (Born in Scotland and raised in Canada and the United States, Byrne offers wise and trenchant philosophical and political views within and between songs.)
The production is stunning. Byrne appears in a well-tailored grey suit, with bare feet. His stagemates—two vocalists, six percussionists, and three additional musicians—gradually appear, similarly garbed and similarly barefoot. The musicians wear custom-made harnesses which allow them to play their various instruments while in constant movement. And that movement, choreographed and staged by Annie-B Parson, is remarkable (to say the least). Everyone, from Byrne on, is propelled like a kinetic automaton throughout the evening; movement here, actual dance steps there, and practically perpetual motion.
The show is impeccably fashioned. The all-important lighting and sound design come from Rob Sinclair and Pete Keppler, respectively. Alex Timbers, director of Byrne’s Here Lies Love and the current Moulin Rouge, is credited as “production consultant.” There is no scenic designer mentioned, but whoever came up with the versatile walls of what look like metal chain beads made an immense contribution to the evening.
The band is led by music directors Karl Mansfield (on the keyboard) and Mauro Refosco (percussion). The rest are so spectacularly entertaining and individually talented that we’ll cite them, alphabetically, as a group: Jacquelene Acevedo, Gustavo Di Dalva, Daniel Freedman, Chris Giarmo, Tim Keiper, Tendayi Kuumba, Stéphane San Juan, Angie Swan, and Bobby Wooten III. Given that the show is all music, due praise goes to Byrne and his songwriting companions: Brian Eno and numerous other collaborators are all duly credited in the back of the program.
At evening’s end, Byrne invites the audience to stand up and dance their way through “Burning Down the House,” adding that the Fire Department has requested that people not dance in the aisles. Because, he adds, patrons dancing in the aisles would have an unfair advantage in case of fire. At the performance attended, not quite everyone stood and danced; but you still had 1,500 or so fans stomping their collective 3,000 feet. Welcome back to Broadway.
David Byrne’s American Utopia resumed its run on September 17, 2021 at the St. James Theatre and continues through April 3, 2022. Tickets and information: americanutopiabroadway.com
