Passing Strange @ 14th Street Theatre 4/29/11
Wow! There was so much to love about Passing Strange that it’s hard to know where to start (and, alas, by the time you read this, it’s too late to see it). Los Angeles, Amsterdam, Berlin turn magical (and very funny) in this lively rock musical about growing up. Our black middle-class American hero, known simply as “Youth” becomes in turn enchanted and disillusioned with religion (his mother’s cure for angst in L.A.), drugs and bohemian life (legal pot and more in Amsterdam), and idealism (revolution was hot for Berliners). The appealing cast makes the most of every chance to show off their considerable talents.
On opening night, Rod Lawrence, as Youth, brilliantly portrayed the goofy, driven, yet always likable kid who knew music was his destiny but wasn’t quite sure how or why things happened. Adrianna Cleveland (recently seen as Mimi in La Boheme) touched hearts as Youth’s vibrant (and often sassy) Mother. (No, she didn’t look old enough to be his mother, but aren’t our mothers often older in our memories than they really were at the time?) Jay Ellis’ Narrator oozed cynical and in-your-face charm. Ciara Renée, Jessica Dyer (both spritely, sexy dancers), Jude McCormick, and Alex Syiek all showed comic wit and energy as people Youth met on his travels. Sara Budnik, as the white-clad singer Heidi, crooned sweetly with the just-offstage band led by Ryan Fielding Garrett. Antwaun Holley (as Youth) and Chris McCarrell (as multiple characters) appeared in subsequent shows.
When Passing Strange played on Broadway in 2008, I saw it and was impressed with the production that featured lyrics and book by Stew and music by Stew and Heidi Rodewald. I was curious to see how director Victoria Bussert and the students from the B-W Music Theatre Program would handle the show. (Full disclosure: I work at Baldwin-Wallace as an editor.) The Cleveland production worked even better than the New York show for me. One reason was because the youthful cast (amazing dancers) is closer to the age of the protagonists. (After all, the real Stew had to write and act in this musical about growing up after he had already grown up. The beautiful bouncy BW kids are still kids.) In addition, in these days of minimal Broadway production values (most shows are not like South Pacific), it was easy for the modest stage of the 14th Street Theatre to compete with (and surpass) the original set design and lighting.
This snappy, smart, laugh-out-loud musical brought back just how strange a time most of us have while we’re figuring out who the heck we are.
Laura Kennelly is a freelance arts journalist, a member of the Music Critics Association of North America, and an associate editor of BACH, a scholarly journal devoted to J. S. Bach and his circle.
Listening to and learning more about music has been a life-long passion. She knows there’s no better place to do that than the Cleveland area.
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