Based on the rather obscure 1999 film of the same name, A Walk on the Moon distills the movie’s energy, then recalibrates it into a riveting musical with powerhouse vocals. Its concept seems deceptively small scale: a bored housewife starts a wild affair with a blouse salesman in the heat of summer. Yet, the book by Pamela Gray lovingly expands her script, and Sheryl Kaller’s direction helps the production lift off straight to the moon. Currently playing a limited run Off Broadway at the Laura Pels Theatre, A Walk on the Moon has all the makings of a bold Broadway musical, condensed on a still impressive, albeit much smaller stage. The whole show bursts at the seams with creative staging, immersive lighting and visual effects, and charming performances that still leave room for bold tearjerking ballads. A dazzling surprise, A Walk on the Moon is a vibrant 60s time capsule perfectly suited for the musical treatment.
Welcome to Dr. Folger’s Bungalows, snuggled deep in the Catskills, circa 1969. It’s a perfect gathering spot for a group of friends to wile away the summer hours, just in time for the July 4th holiday, fireworks, the moon landing, and Woodstock! It’s even a great opportunity for an actress from the original movie to offer up the daily loudspeaker announcements. Tovah Feldshuh, who played Marty’s mother, could not be more perfect here. Act one establishes the status quo, almost romanticizing the fiery affair at the heart of the film. It also underlines that this story is decidedly Jewish, filled with phrases and cultural specialities that will speak to certain folks in the audience.
Though there are many tertiary characters along the way, the main players all have compelling, distinct perspectives. Talia Suskauer steals the show as Pearl, the role played by Diane Lane in the movie. Pearl’s conflicts between embracing her desires and staying faithful to her family bonds drive her to make some hasty, often selfish choices; it speaks volumes then that Suskauer find a way to make the character so lovable. Her absentee husband, Marty (Max Chernin), keeps missing important events, and the allure of the hunky, long-haired blouse salesman Walker (Sam Gravitte) proves impossible for her to resist. At the same time, Pearl’s daughter, Alison (Sophie Pollono), falls into a whirlwind romance of her own with local boy Ross (Oscar Williams), whom she dubs the Jewish Jimi Hendrix. Marty’s mother (Andréa Burns) spends most of the show channeling her spiritual connections, and sitting on the porch tending to the kids.
The intimacy of the storytelling and compact nature of its setting allows for plenty of creative freedoms where the staging is concerned. Vintage footage greets audience members right from the start, and news clippings and time period-accurate riots and political unrest are constantly at the forefront of the action. Oftentimes images appear superimposed over the actors, with a transparent screen allowing for even further texture as the scenes play out. The act one closer that somehow finds a way to blend multiple romantic moments and an entire group watching the moon landing felt completely magical. The television plays out in real time over one layer of screen, and a platform brings the watch party closer along with the television and its images. I’ve never seen anything similarly executed onstage before, and it’s altogether stunning to behold. Likewise, Woodstock is depicted in an extremely interesting way, with swirls of color, and a propulsive moment that has a crescendo of an effect on the story. This is what we come to the theatre for: surprises that delight and intrigue, especially when expectations are low. The show’s scenic design and lighting are honestly immaculate, and deserve all the awards.
The music and lyrics by Annemarie Milazzo are also surprisingly potent. Two songs in act two actually drove me to tears, one of which perfectly encapsulates the relationship between a father and daughter. Of course, it probably helps that the three leads have amazing vocal range, and are more than up to the task to deliver on this bold material. The music and lyrics add an extra layer to a somewhat simple story that makes it stand out even more. The lead, Talia Suskauer, really soars during her solo numbers. Oftentimes, act two of a show will start with a bit of a whimper, but such is not the case with A Walk on the Moon. Suskauer delivers a rousing, postcoital glee that rubs off all over the tie-dyed stage. The ensemble is also almost entirely fantastic, although the daughter feels a little bit miscast. Her love interest, though, Ross, delivers with his vocals and curly/haired charisma.
Translating this movie to a theatre stage was probably incredibly therapeutic and important for screenwriter Pamela Gray. Her film has been given added texture, and musical numbers that always expand the characters and their inner turmoil. There is a lot of heart poured in, and you can feel the contagious energy in the room from every performer, top to bottom. The songs are varied enough to never feel repetitive, even though there are a couple of weaker links. With an impactful narrative and some of the most intricately staged music numbers and sequences of the year, A Walk on the Moon is a sumptuous marvel.
Take a A Walk on the Moon, now playing performances Off Broadway at the Laura Pels Theatre. For ticketing information, please head over to the official website.
