The Citiblog

Review: Swept Away Will Transport You
November 19, 2024, 11:21.59 pm ET

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Photo: Emilio Madrid

By Brian Scott Lipton

Is there something about being on a whaling ship that causes sailors to sing? They do so with gusto in Rodgers & Hammerstein’s “Carousel,” and their voices soar once more in “Swept Away,” the haunting new musical at the Longacre Theatre. It’s as if (at least in the latter case) these men haven’t even considered the possibly grim fates that await them.

A masterpiece of mood – thanks partly to its inventive staging (direction by Michael Mayer) and scenic design (by Rachel Hauck with lighting by the great Kevin Adams) -- “Swept Away” benefits most from its gorgeous score by country-folk band The Avett Brothers, ranging from the spiritual “Lord Lay Your Hand on My Shoulder” to the moving “No Hard Feelings” to the explosive “Satan Pulls the Strings.”

Intriguingly, though, only a few numbers were written directly for the show; the score is primarily culled from their 2004 album “Mignonette,” which was inspired by the real-life sinking of a 19th-century British ship of that name and the gruesome aftermath of that boat’s destruction. Not surprisingly, then, most of the tunes develop or reinforce character rather than plot.

Sadly, that statement is also true of John Logan’s too-often inert book, one that occasionally causes us to lose interest in the piece and make the work’s 90 minutes sometimes feel considerably longer. I’m not sure either that Logan’s wisest idea is to present the show in flashback, robbing the tale of some possible suspense.

We begin 1910 as the perennially troubled and troublemaking character known as “Mate” (brilliantly embodied by John Gallagher, Jr. as a outwardly crusty yet inwardly terrified fellow) lies dying in a tubercular ward and hallucinates the ghosts of three of his shipmates (the excellent Stark Sands, the beautifully-voiced, androgynous Adrian Blake Enscoe, and the convincing Wayne Duvall) urging that he tell the true story of what happened 22 years ago so they can all rest in peace.

At first, there’s not much to tell, although we will learn shortly this will be the last voyage for the ship, which is being retired as the whaling industry enters its final era of decline. What little drama ensues involves the unexpected arrival of “Little Brother” (Enscoe), a callow 18-year-old desperate to escape his life on the family farm, and who is quickly followed by “Older Brother” (Sands), a responsible, pious man who wants to drag his sibling back to his former life.

There could be a lot of conflict arising from their relationship, but the brothers have barely begun to argue (in the rousing “Nothing’s Gonna Change My Mind”) when the ship takes off with Big Brother stranded aboard. More dissent could arise when Big Brother insists on praying on the Sabbath – despite the disapproval of the no-nonsense Captain (Duvall) and the Mate – but only a few words are exchanged. (Frankly, I think the show could have made better use of its 12-men chorus during these sections.)

Ultimately, prayers are needed, if not answered, when the ship sinks during a fierce storm (a truly special effect worth seeing), leaving only the aforementioned foursome alive in a small boat, deprived of food and water for weeks. Soon, questions of survival and sacrifice arise, with difficult decisions to be made. What ultimately happens is shocking and leaves audiences with at least one unforgettable image.

If truly dark musicals are not your taste, I’d suggesting staying away from “Swept Away.” Others are urged to come sail away on this often-remarkable journey.

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