By: Darryl Reilly
Empire: The Musical depicts the eventful creation of the Empire State Building. Construction of the 102-floor skyscraper began on March 17, 1930; it opened on May 1, 1931. The project was overseen by former New York governor and 1928 losing Democratic Presidential candidate, Al Smith (1873-1944); the edifice was originally going to be named after him. Smith battled bureaucracy, Mayor Jimmy Walker, high society types, an adversarial press, and a fickle public; six workers were killed during construction. Still, the colorful Smith triumphed in completing it on schedule during The Great Depression. The Empire State Building was instantly iconic and profitable due to its observation deck which became a major tourist site. These events are certainly worthy of dramatization.
Unfortunately, Empire: The Musical’s book written by Caroline Sherman and Robert Hull is unwieldy. It succeeds at imparting historical facts while offering a vivid portrait of Smith and his crusade through straight forward dialogue; but there is also a clunky narrative framing device. In 1976 we meet the adult daughter of one of the killed construction workers who is clashing with her daughter. The mother interacts with characters from the past for contrived dramatic effect. We are introduced to several stereotypical immigrant construction workers, one of whom marries a Native American woman, so there’s a racial angle as well. The scenario is jumbled and structurally deficient. The finale is drawn out and bewilderingly does not include an image of the Empire State Building. Ms. Sherman and Mr. Hull’s score achieves professionalism. Their music is proficient, and their lyrics range from sharp to overly cute, sometimes caught up in abundant rhyming; there are a few pleasant songs. The production strives to elevate this faulty material.
The beaming Paul Salvatoriello and the vivacious Kaitlyn Davidson bring snappy musical theater verve to their central roles as Al Smith and his wisecracking assistant. The magnetic company of Danny Iktomi Bevins, Monique Candelaria, Devin Cortez, Morgan Cowling, Joel Douglas, Joseph Fierberg, Alexandra Frohlinger, Matt Gibson, Albert Guerzon, Kiana Kabeary, Howard Kaye, TJ Newton, April Ortiz, Kennedy Perez, J Savage, Robbie Serrano, and Ethan Saviet, all deliver sparkling performances and vibrant characterizations, some in multiple roles. At the performance under review, Julia Louise Hosack charmingly filled in for Jessica Ranville.
The show opens with the flat pageantry of actors entering in semi-darkness to mill about for not much effect, thankfully director Cady Huffman’s physical staging improves. Ms. Huffman won a Tony Award for her performance in The Producers, for Empire: The Musical she channels some of that fabled show’s pizzaz while honoring this piece’s serious aspects. Ranging from simplistic to euphoric, Lorna Ventura’s jitterbug-centric jaunty choreography energizes several sequences. Scenic designer Walt Spangler’s large-scale configuration of building beams, ramps and vintage furnishings, realize the various settings with artful authenticity while allowing for swift scene transitions. Jamie Roderick’s expert lighting design creates a striking out of the past sheen. Sound designer Shannon Slaton’s efforts forcefully realize effects and the music. Costume designer Tina McCartney array of snazzy garments perfectly visualize the variety of lower and upper-class characters.
Empire: The Musical’s virtues do not mitigate stretches of dullness during its length of two and half hours including an intermission.
Empire: The Musical (through September 22, 2024)
Visceral Entertainment
New World Stages, 340 West 50th Street, in Manhattan
For tickets, visit www.empirethemusical.com
Running time: two hours and 30 minutes including one intermission