Interludes

THE HANGOVER REPORT – John Logan and Tom Kitt’s higly anticipated SUPERHERO is curiously pedestrian

• By drediman
• March 1, 2019
• No Comments

Kate Baldwin and Bryce Pinkham in Tom Kitt and John Logan’s “Superhero” at Second Stage Theater’s Tony Kiser Theater. Photo by Joan Marcus.

One of the most affecting musicals written thus far this century is Tom Kitt and Brian Yorkey’s cathartic Pulitzer Prize-winning Next to Normal. Additionally, one of the most successful plays among critics and audiences alike (and, subsequent to its premiere, one of the most-staged plays regionally) during the same time period is John Logan’s Tony-winning Mark Rothko biodrama Red. It was therefore with great anticipation that theater fans approached Superhero, Mr. Kitt and Mr. Logan’s musical collaboration, which opened Off-Broadway at Second Stage Theater’s Tony Kiser Theater.

That the material registers as pedestrian as it does is quite a curious surprise, given its writers’ pedigree. Superhero tells the story of Simon, a troubled teenage boy obsessed with comic book superheroes, and his on-edge, recently-widowed mother. Their involvement with a mysterious neighbor, who may very well possess super powers, triggers mother and son to face and open up about the tragedy that has befallen them. I suspect the show’s (current) mediocrity has much to do with its creators’ attempt to cater to the masses – superheroes and high school soap operas have been mainstays in our popular culture for decades now. Indeed, Next to Normal succeeded precisely because it boldly broke the mold in its uncommercial depiction of mental illness. Even Mr. Kitt’s score here comes across as curiously bland (despite a few lovely moments sprinkled throughout), a far cry from the piercing emotionalism of his aforementioned Pulitzer Prize-winning musical masterpiece. And as for Mr. Logan’s book, it mostly meanders through the generic plot, only occasionally showing us the punchy dramatic tension that had made Red so irresistible, at least in its original incarnation. Although I admired the emotional directness towards which the creators are aspiring, the uneven product currently onstage at the Tony Kiser is as two-dimensional as one of Simon’s comic books.

The production has been directed competently for the most part by Jason Moore, who experienced much acclaim early in his career when he helmed the smirking, youthful Avenue Q (the long-running hit shutters this spring) to Tony-winning success. Given his tendency for brash parody – Mr. Moore also directed this season’s amusingly self-deprecating The Cher Show on Broadway – it’s likely that he may have been the wrong choice to flesh out material as emotionally earnest as Superhero. Suffice to say, Ms. Baldwin (as the mother) was her typical solid self, sounding and looking as luminous as ever. However, I can’t help feeling that both she and the similarly dependable Bryce Pinkham (as the potential superhero) have yet to fully develop into their roles. In the central role of Simon, the perfectly fine Kyle McArthur unfortunately lacked the magnetism and distinctive personality to demand our attention and lift the piece above derivative second tier musical theater. Can Superhero be developed further into a worthy new musical? Hard to tell, but my gut tells me yes.  If so, what’s clear is that a major overhaul is in order.

(CURRENTLY) SOMEWHAT RECOMMENDED

SUPERHERO
Off-Broadway, Musical
Second Stage Theater
2 hours, 15 minutes (with one intermission)
Through March 31