Interludes

VIEWPOINTS – Off-Broadway musicals that think outside the box: The return of MEXODUS, Milo Cramer’s NO SINGING IN THE NAVY

• By drediman
• April 6, 2026
• No Comments

This spring, you’ll find a pair of unconventional Off-Broadway musicals that have caught theatergoers’ imaginations precisely because of their willingness to think outside the box. Read on for my thoughts on these accessible yet fascinating works of music theater.

MEXODUS
Daryl Roth Theatre
Through June 14

One of the best new musicals of the season is Mexodus (HIGHLY RECOMMENDED), which has returned for an encore run this spring at the Daryl Roth Theatre (the show was previously presented by Audible Theater at the Minetta Lane Theatre, and before that in Washington, DC). The show is written by and stars Brian Quijada and Nygel Robinson — both extraordinary music-makers and storytellers — who brilliantly animate the lesser-known, southward Underground Railroad that led into Mexico. The tale is told through the lens of the fictitious characters of Henry and Carlos, both of whom are amalgamations of carefully researched historical figures. Throughout, music plays a central role in the storytelling via an eclectic medley of musical styles, ranging from hip-hop, rap, Black spirituals, and Mexican folk music. Despite these disparate styles, the songs are artfully articulated, unforced, and naturally integrated into the fabric of the show. To boot, Robinson and Quijada make it all look astonishingly easy. Not only does the duo have to sing and act, they must also navigate playing all the instruments, as well as the complexities of looping it all together into a rhythmic orchestral tapestry that drives the story forward. In its mission to refocus history through contemporary cultural vernacular, the musical pays obvious homage to Hamilton, although its primary focus on slavery distinguishes it from the Lin-Manuel Miranda mega hit (which somehow largely sets aside that historical elephant in the room). As the runaway slave Henry, Robinson is smooth yet magnetic; you can’t help but root for his journey to freedom and safety. In contrast, the vibrant Quijada as Carlos — the Mexican farmer who lends a helping hand to Henry — gives a punchier, more assertive performance that provides a nice contrast to Robinson’s softer, more openly vulnerable performance. David Mendizábal’s tight and focused multimedia production continues to explode off the stage with exuberance and ingenuity. If you missed it last time, make sure to snag a ticket this time around.

NO SINGING IN THE NAVY
Playwrights Horizons
Through April 19

Last night, it was Playwrights Horizons’ buoyantly-performed production of No Singing in the Navy (RECOMMENDED), Milo Cramer’s satiric and irreverent homage to American innocence and the golden age of musicals — most obviously Leonard Bernstein, Betty Comden, and Adolph Green’s On the Town — with a touch of Gilbert and Sullivan and even Finding Nemo thrown into the mix. The premise is oh so familiar — with a hundred dollars to spend and only 24 hours of leave time before getting shipped off to war, three irrepressibly optimistic sailors set about New York City on a mission to find fun and get into as much trouble as they can. Throw into the mix a talking crab — on his own quest — who teachers the trio to sing, as well as a sexually repressed captain, and you have a zany little musical that both meets and exceeds its expectations. Strictly as a musical parody — which seem to be a dime a dozen these days — Cramer has written a charmer. And at only 75 minutes, the show certainly does well not to outstay its welcome. But despite the simplicity of the structure of Cramer’s book and the good nature of his ditty-like songs — accompanied only by piano — there’s something genuinely heartfelt about slightly surreal about the piece that transcends merely parody. Indeed, because certain death awaits them on the other side of their escapade, their adventures are increasingly infused with poignancy and even a little sadness (the conclusion of the musical is quietly and unexpectedly devastating). If only in penetrating flashes, No Singing in the Navy deals in very real and existential ways with anxiety and helplessness vis-à-vis the chaos and unpredictability of life. Indeed, although the situations the characters find themselves in are often pitched to inspire smiles and laughter, there’s an underlying desperation and panic that fuels their upbeat nature. The hard-working and multi-tasking cast of three — Bailey Lee, Elliot Sagay, and Ellen Nikbakht — knock it out of the park. Not only are they immensely charismatic and rather gifted comedians (particularly the star-in-the-making Nikbakht), they’re also great movers and more than adequate singers.