There is not a word of dialogue in Illinoise, but this hybrid production fusing dance and music accomplishes far more than mere words can express. Inspired by Sufjan Stevens’ groundbreaking concept album, Illinois, choreographer Justin Peck came up with his own theatrical concept. With Jackie Sibblies Drury as co–book writer, they crafted a narrative that translates the emotional import of Stevens songs into a unique language that can best be described as poetry in motion.
The 90-minute work is divided into three parts. In the first, we are introduced to Henry (Ricky Ubeda), a young man who seems adrift. He leaves his partner and wanders into a setting that is described in the Playbill as “A special air-filled, hard-to-reach place, where individual people become a community by sharing stories and imagining each other…lit by a campfire.”
From the album, the song “Concerning the UFO Sighting Near Highland, Illinois” (referred to in the show as “Three Stars”) is a hauntingly beautiful piece. But like much of the production, don’t look for literal representations. Peck, as both director and choreographer, aims for mood, tone, and abstractions in some cases. The opening number sets the stage for a dreamy quality that conveys a figurative rather than literal illustration of the music.
[Read David Finkle’s ★★★☆☆ review here.]
Each member of the campfire group has a journal or diary which they’re encouraged to share. From “Come On! Feel the Illinoise,” they chant the refrain:
Are you writing from the heart?
Are you writing from the heart?
Henry is reluctant at first. But others volunteer. Among the more colorful is “a story about Zombies” set to Stevens’ song “They Are Night Zombies!!” in which Jeanette Delgado is terrorized by dancers wearing zombie masks. They’re revealed to be historic figures—Andrew Jackson, Christopher Columbus, Joseph McCarthy, Ronald Reagan, among others. Presumably it’s a comment on the hold these infamous and controversial figures have on us, even from the dead.
Another camper (Alejandro Vargas) steps up to tell the ghoulish story of serial killer John Wayne Gacy who murdered 27 young men outside of Chicago. Heinous as it is, the lyrics
And in my best behavior
I am really just like him
Look beneath the floor boards
For the secrets I have hid
imply that we have more in common with Gacy than we think.
And then to lighten the mood we have Brandt Martinez in a Superman T dancing to the upbeat “The Man of Metropolis Steals Our Hearts.” Mid-song the company cuts loose in an explosion of limbs and body parts flailing gleefully. Moments like that are exhilarating to watch.
The second part brings us Henry’s story, and it is a profoundly captivating tale concerning Henry’s friendship with Carl (Ben Cook) and Shelby (Gaby Diaz). As a young man exploring his sexuality, he starts to think of Carl as something more than a friend. They drive to New York together but the relationship takes a dramatic turn when Henry meets Douglas (Ahmad Simmons) and Shelby takes ill. Carl returns to Illinois to be with Shelby, whom he deeply loves, but Henry decides to stay in New York.
The narrative flows seamlessly from joy to grief to self discovery and eventually liberation. It hits home thanks in large part to the three lead performers who prove themselves equally adept at acting as they are at dancing. Ubeda and Diaz won back-to-back seasons of So You Think You Can Dance but all of them have extensive professional credits which enable them to display tremendous versatility on the St. James stage. I was especially moved by Diaz and Cook’s heartbreaking pas de deux.
If there’s one word to describe the show, it is eclectic. Stevens’ music is often described as indie rock, folk, pop, electronica, you name it. And his lyrics run deep. His vast talents as songwriter, composer, singer, and musician easily explain how Illinois was named the best reviewed album of 2005 by Metacritic. With a terrific 14-piece band, he should be very pleased with the quality of the music conducted by the very animated music director Nathan Koci.
Stevens is matched by Peck’s mastery of dance. He puts his superb company through their paces with a seeming limitless array of genres, from ballet to modern to tap. The entire effort is marked by a manic discipline in which the movements come off as both organic and controlled. And it can be whimsically inventive as when he speeds the passage of time by choreographing the company to move in fast forward.
A very special mention to the three singers who are also skilled musicians. Elijah Lyons, Tasha Viets-VanLear, and Shara Nova (who performed on the Illinois album) have out-of-this-world voices…at times you’d almost swear they did step off a UFO.
Scenic and lighting designs by Adam Rigg and Brandon Stirling Baker, respectively, provide the perfect backdrop for this intimate work. Picking up from the album art, they paint the ideal setting with ample space for the cast to strut their stuff.
As successful as Illinoise is as a narrative dance musical, it is somewhat esoteric and likely not everyone’s cup of tea. But even for those folks who may find it artistically challenging, there is much to appreciate. Illinoise is a wonderfully collaborative effort that raises the “barre” for Broadway musicals moving forward.
Illinoise opened April 24, 2024, at the St. James Theatre and runs through Aug. 10. Tickets and information: illinoiseonstage.com
