Interludes

THE HANGOVER REPORT – A new immersive pop musical breathes decadent disco life into the legend of CLEOPATRA

• By drediman
• December 3, 2018
• No Comments

Nya in the title role of “Cleopatra”, an immersive new pop musical at Chelsea Music Hall.

Last weekend at Chelsea Music Hall – a new venue located in the bowels of Chelsea Market – I caught Cleopatra, the new immersive pop musical by Jeff Daye and Laura Kleinbaum which tracks the life and times of the show’s namesake, one of the most seductive and recognizable leaders in world history. I’m happy to report that this iteration of the musical – it had played previously last year in the East Village – is intoxicating, a heady mix of disco nightlife, drag culture, and a dash of Broadway brio via Hamilton. Even if Cleopatra admittedly lacks depth, I nonetheless had a total blast at the decadent, albeit very loud, musical. I don’t think I’ve ever encountered such a thorough integration of authentic clubbing experience and musical theater.

The experience has the breathless sung-through drive and pop-is-paramount vibe of the irresistible David Byrne musical Here Lies Love (now when is that show going to Broadway?), as well as Andrew Lloyd Webber’s Evita. Coincidentally, or perhaps not, all three musicals conjure three female political and cultural icons – Imelda Marcos, Eva Peron, and, of course, Cleopatra. And just like the sensational Imelda Marcos musical, Cleopatra creates a uniquely immersive playing space in which the story unfolds. The centerpiece of the show is Mr. Daye and Ms. Kleinbaum’s  excellent electronic dance music score (DJ’d live), an ideal mix of playfulness, sexiness, and just plain solid songcraft. their work made me want to get up and get mixed up in the show’s nonstop bacchanalia.

JT Horenstein directs and choreographs Cleopatra as if it were a speeding train heading to hell and back. In the title role, Nya slays. Her performance started off somewhat subdued, but its a choice that makes sense as she tantalizingly peels the layers from this mysterious historical figure. By the end of the show, she has eating from the palm of her hands with her captivating, Beyoncé-inspired performance. Just as much of a diva is the spot-on Dusty Ray Bottoms as the Mistress of Ceremonies, who gives the piece a queer pop, adding a welcome element of campy subversiveness to the proceedings. The handsome, chiseled, and golden-voiced Christian Brailsford is just about ideal as Antony. The rest of the supporting cast is fine, and the ensemble must be commended for pushing the show forward with their commitment to Mr. Horenstein’s relentless, energized choreography.

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CLEOPATRA
Off-Broadway, Musical
Chelsea Music Hall
1 hour, 20 minutes (without an intermission)
Open run