The Band's Visit
Music and Lyrics by David Yazbek
Book by Itamar Moses, based on
the film by Eran Kolirin
Choreographed by Patrick McCollum
Directed by David Cromer
Ethel Barrymore Theatre
By Lauren Yarger
Like streams in the dessert, The Band's Visit quenches
a thirst for something satisfying on Broadway and it's different than any other
drink being offered on the Great White Way.
First off, this musical doesn't feel like a musical. The score by
David Yazbeck (The Full Monty, Dirty Rotten Scoundrels) seems a natural
part of the story, which follows an Egyptian police orchestra on its way to
perform in a dedication ceremony in Israel. So when the musicians pick up their
instruments, or the characters express themselves by singing a song with beats
that sound conversational, it is an extension of themselves thanks to
expressive lyrics (also by Yazbek) and a well-written book by Itamar Moses,
based on the 2007 movie by Eran Kolirin. This production makes a smooth
transfer to Broadway of the acclaimed Off-Broadway world premiere last year at
the intimate Atlantic Theatre Company, where it was sold out for most of its
run.
When the band members arrive in Israel, they discover they are in
Bet Hatikva, not Petah Tikvah, home of the Arab Cultural Center, the
opening of which they have come to celebrate. Bet Hatikva not only doesn't have
a cultural center, it doesn't have much of anything. That’s the word from Dina
(Katrina Lenk, who undoubtedly will be nominated for a Tony award for her splendid
performance), owner of a cafe which is one of the few non-apartment buildings
in the area.
"Not Arab culture, not Israeli. Not culture at all," she
tells Tewfiq (a wonderful Tony Shalhoub). "Welcome to nowhere."
Because there is no bus out of town until the next day and no
hotel in the area, Dina provides dinner for the band and commandeers her
neighbors into putting the members up in their homes.
A welcome mat is rolled out for the Egyptians to join the
Israeli's on a typical evening in Bat Haitikva. Simon (Alok Tewari), shares his
unfinished musical composition and brings peace to the home of Itzik (John
Cariani) and Iris (Karen Sieh), who isn't sure she can deal with the
demands of a new baby and no sleep. Meanwhile, Haled (Ari'el Stachel), who was
responsible for the mix up in their travel plans, tries to avoid Tewfiq's
relentless disapproval and seeks out a good time at the local roller rink. He offers
advice (rather humorous) on picking up girls to Papi (Etai Benson), who is
smitten with Julia (Rachel Prather), but is unable to work up the nerve to
speak with her.
Creating this world, with the help of a revolving stage designed
by Scott Pask, is Director David Cromer, who works his magic to bring the
audience into the intimate world of the characters. We feel for one character,
known only as the Telephone Guy (Adam Kantor), who waits endlessly at a
payphone for a call from his love. We're not sure exactly why he thinks she
will call, or why it is so important that she does, but we really want that
phone to ring.
Meanwhile, despite appearing to be dry from years of wandering in
an emotional dessert, complete with failed relationships with men she probably
shouldn't have been involved with in the first place, Dina finds herself drawn
to the mild, polite Tewfiq. He touches a part of her she hasn't visited in a
while -- a hope she felt when watching old romantic movies on TV. As she
wonders whether Tewfiq might be the one she has been waiting for all these
years, she sings a mesmerizing ballad, "Omar Sharif."
Dina is sitting at the table talking with Tewfiq, but Lenk rises
to present the song in an almost ballet movement that allows us to see the
thoughts crossing her mind (choreography is by Patrick McCollum). Tyler Microleak’s
exceptional lighting design highlights Dina and in a less pronounced way,
Tewfiq, but also lets us see the other characters in the shadows of the restaurant
as they mimic her arm movements. The effect is a stunning
"time-stands-still" moment which no one does better than Cromer.
And that ballad triggers a never-ending earworm once you hear it (sample a clip
in the video below).
If the performances and music weren't enough to make this a top
pick (probably of the season), there are some bonuses as well. The story is
about people. Regular, decent people who open up and share with each other. In
a plot that could have focused on politics since we have Jews and Arabs
interacting there isn’t any. Even with communication difficulties brought on by
language barriers. What a welcome respite -- like a stream in the
dessert. Many playwrights and directors seem to think they have carte
blanche to bash politicians they don't like, even if doing so doesn't add
anything to the show. They should take a lesson from The Band's Visit,
which in its silence about politics, says more about the good of humanity and
the ability for people from different backgrounds to get along than any Trump
bashing could, for example.
A second bonus is that the musicians who are on stage are really,
really good. The Broadway production includes some more instrumental parts in
the score (orchestrated by Jamshied Sharifi) which allows the musicians to
improvise. Don't leave at the curtain call, or you will miss a terrific encore.
The Band's Visit has hearts singing at the Ethel Barrymore Theatre, 243 West 47th
St., NYC with tickets currently on sale through September 2018. Performance
times vary. Tickets are $59.00 - $189: thebandsvisitmusical.com.
Additional casting:
Andrew Polk, Bill Army, Rachel Prather, Jonathan Raviv, Sharone
Sayegh, Pomme Koch, Madison Madison Micucci and James Rana
Additional credits:
Sarah Laux (Costume Design), Kai Harada (Sound Design), Maya
Ciarrocchi (Projection Design), Charles G. LaPointe (Hair Designer), Andrea
Grody (Music Supervisor and Music Director) and Dean Sharenow (Music Supervisor
and Music Coordinator)
FAMILY-FRIENDLY FACTORS:
-- God's name taken in vain
-- Language
-- Recommended for 12 and up
