Interludes

VIEWPOINTS – Assessing new ensemble-driven musicals: Roundabout’s EDM-fueled THE HEART, the Bobby Conte-led COPPERFIELD! open Off-Broadway

• By drediman
• October 31, 2026
• No Comments

Recently opening Off-Broadway are a pair of Off-Broadway musicals that have been designed to be driven by ensemble-based theatrical storytelling (similar to the Olivier Award-winning musical adaptation of The Curious Case of Benjamin Button, which also opened this fall at The Public Theater). As per usual, read on for my thoughts on these two new musicals.

THE HEART
Roundabout Theatre Company at the Laura Pels Theatre
Through December 6

The Heart (HIGHLY RECOMMENDED), which recently opened Off-Broaway at the Laura Pels Theatre courtesy of Roundabout Theatre Company, is an unconventional musical in a number of ways. From its subject matter, to its score, to its presentation, the production is an exciting and often jarring departure from preconceived notions of what constitutes commercial musical theater. Based on Maylis de Kerangal’s 2014 novel Réparer les vivants — which chronicles the journey from a tragic car accident to a life-saving heart transplant procedure — the piece ambitiously pushes the envelope for what’s possible via musical theater storytelling. Anne Eisendrath and Ian Eisendrath’s electronic dance music-fueled score, which has a number of ear worms up its sleeve, is a refreshing stylistic choice and strangely fitting for the subject matter. The 90-minute production has been helmed by Christopher Ashley — who was recently appointed Roundabout’s artistic director — has already proven his mettle when it comes to ensemble-based musicals, having won a Tony Award for his directorial work for Come from Away. His well-drilled staging here is equally inspired — a swirling, highly kinetic network of scenes that flow in and out of one another through non-stop blocking (blending fluidly with Mandy Moore’s coiled choreography) against the backdrop of Lucy Mackinnon’s constantly morphing video projections. As framed by the economy of Kait Kerrigan’s book, the staging creates a sense of forward momentum that’s often exhilarating, capturing the chaotic chain of events and efficiently conveying the disparate interlocking cogs that make such a momentous procedure possible. Indeed, seen from such a comprehensive, panoramic perspective, it’s a miracle that such things are even possible. This is not to say that the musical is devoid of quieter, more introspective moments; I found the candid scenes articulating the sacrifices healthcare workers have to make to be particularly affecting. Suffice to say, it’s all precisely executed by the terrific nine-strong ensemble cast — including such committed stalwarts as Joaquina Kalukango, Drew Gehling, Heidi Blickenstaff, and Jason Tam, who star alongside some wonderful newcomers — who each have a moment or two in the spotlight. And although the musical’s characters are succinctly drawn, they’re nevertheless portrayed with personality, genuine heart, and often times disarming humor. Like Come from Away, The Heart provides an inspiring and uplifting view of humanity, and is a much needed reminder for our capacity for good.

COPPERFIELD!
The Duke on 42nd Street
Through December 6

Then over at The Duke on 42nd Street, you’ll find Copperfield! (SOMEWHAT RECOMMENDED), the new musical adaptation of Charles Dickens’ sprawling semi-autobiographical novel David Copperfield. Written by Jeffrey Sharf, who is responsible for the musical’s book, music, and lyrics, the adaptation is structured as a memory play narrated by the hardworking Bobby Conte as the adult David Copperfield looking back on the character’s eventful life (predictably, he takes on the role in first person in the second act, swapping narrating duties with the character’s younger self). For the most part, Sharf has done an admirable job truncating the novel’s labyrinthine narrative into a single sitting in the theater, although at times the storytelling and the score — richly arranged and orchestrated by Sonny Paladino — can be a bit scattered. Indeed, the musical can benefit from a more consistent stylistic point of view (e.g., sticking more strictly to the music hall aesthetic, which is currently more pronounced at some times more than others). As directed and choreographed by Gabriel Barre, the production does well to smooth out some of the odds and ends of the material with a staging that takes on a nearly immersive quality, often breaking through the confines of the The Duke stage (note that the production can be appreciated more the farther back you’re seated, which affords a wonderfully panoramic perspective of the multi-level staging). The musical also benefits from the game efforts of its multi-tasking ensemble — thankfully, they’re talented character actors, first and foremost — led in the title role by Conte, whose old school, full throttle vocals and dashing charisma call to mind the great Hugh Panaro. Unfortunately, the musical inevitably draws comparisons to other more distinctly realized stage adaptations of Dickens’ works, notably the Royal Shakespeare Company’s legendary The Life and Adventures of Nicholas Nickleby from the 1980s, Rupert Holmes’ award winning 1985 musical The Mystery of Edwin Drood, and of course Lionel Bart’s classic 1960 musical Oliver! after the novel Oliver Twist (Sharf has even appropriated the exclamation point and the exclusion of the surname from the musical’s title). It will also draw comparisons to another literary-based life journey told through ensemble musical storytelling. That musical is of course The Curious Case of Benjamin Button, which can currently be seen Off-Broadway at The Public Theater. In the case of Benjamin Button, the score’s consistent tone and the meticulous seamlessness of the communal staging (both productions feature casts that plays their own instruments) cast an unwavering spell. Relatively speaking, Copperfield! is occasionally bland and comes in and out of focus.