Nightmare Alley
In 1947, the film “Nightmare Alley” fascinated and repulsed, using film noir black and white photography in depicting the downfall of a fast talking grifter. It was a morality tale capitalizing on audiences’ inability to refrain from watching the disgusting acts of a carnival geek.
In the 21st century, disgusting acts are much more plentiful, I’m sorry to say, which blunts the shock value that might be had in the musical Nightmare Alley now onstage at the Geffen Playhouse. Yet the combination composer-librettist and playwright, Jonathan Brielle has fashioned an enjoyable side show punctuated with pleasant music that includes a haunting title song that, for the most part, makes up for our more blasé reception. He is aided in his effort by a virtuoso, if romantic, performance from the incomparable James Barbour and great support from the likes of Larry Cedar, Michael McCarty and Mary Gordon Murray. Barbour’s counterpart, Sarah Glendening, provides a sweet counterpoint to his portrayal as Stan the doomed Carney.
The story begins when Stan (Barbour) as a brash young upstart, convinces Carney Clem (McCarty) to perform his magic on mesmerized crowds. Stan has his eye on the young Molly (Glendening), and before long they are a couple. The star of the sideshow, though, is Zeena (Murray), the fortuneteller whose husband and ex-partner, Pete (Cedar) is not a hopeless drunk. Stan’s life seems to take on an upsurge after Pete’s accidental death. He parlays his gift of gab to become a traveling spiritualist with Molly as his shill. Bit by bit, instead, he compromises himself more and more completely until he loses everything.
Since this tale has all the permutations of a typical melodrama, astute audience members stay well ahead of each twist and turn of the story. It is left to the score, then, to keep the action vibrant. Such tunes as “A Ten in One,” “Lucky Heart,” and “I Surrender” stand out of the mix, and music for “The Séance” is eerily melodic. But by far my favorite number was “Nobody Home” performed in duet between Molly and Stan.
Gilbert Cates, longtime producing director at the Geffen, has shepherded the fledgling musical through its development phase and here provides a minimalist production that accents the music and performance over spectacular effects. The six-piece orchestra, tucked away above the action, serviceably underscores without overwhelming the proceedings.
For me, the missing ingredient, the moody black and white lighting, is one that would be difficult to approximate. In this production, sumptuous colors in the simple set design by John Arnone, marvelous costumes by Christina Haatainen Jones, and lighting (even with the strings hovering over the audience) by Daniel Ionazzi, produce the opposite effect. Choreography by Kay Cole is minimal as well.
Nightmare Alley continuesthrough May 23rd at the Geffen Playhouse, 10886 Le Conte Avenue, Los Angeles 90024. The musical performs Tuesday–Friday at 8:00 P.M.;
Saturdays at 3:00 and 8:00pm; and Sundays at 2:00 and 7:00pm. Tickets, from $45 - $75, are on sale at the Geffen Playhouse box office at 310-208-5454 or online at www.geffenplayhouse.com.