-Lynn Siefert (book writer)
So is the setting of this unique musical playing at NYMF. Of all the shows I've seen at NYMF thus far, Little Egypt seems to be the one in its earliest stages of development. Songs need to be cut, songs need to be added, the score is jumbled and lacks identity, transitions are awkward...and yet, it is one of the most original musicals I have in seen in quite a while (and I see a *lot*), that has a really strong story.
Celeste (Sara Rue) comes home to her mother and sister in Southern Illinois after 12 years of being away, revealing to her sister that he has just tried to kill herself. Celeste is a socially-awkward, nerdy intellect, who had more than just a daughter's love for her father. At the mall, she meets Victor (Raphael Sbarge), an even-more socially-awkward, needy security guard, who can't even lie down because he keeps seeing these horrible images of his past. They meet and fall in love, but can they stay together despite their insecurities, emotional instability...not to mention outside forces, like Victor's good friend, Watson (Gregg Henry)?As I stated, the story is unique and well conceived. It comes full circle in a really interesting way, and to its credit, I had absolutely no idea how it was going to end, which is rare. It doesn't fall into any cliches, and doesn't even really fit into a defined genre -- it has comic elements, but isn't really a comedy; it has tragic elements, but isn't really a tragedy.
It seems very much like this started out as a straight play, and is in the process of being musicalized. Though I think the material could serve well enough as a play, I think adding music to it could really enhance the story. Some songs do, such as "Fishing for the Moon," and "Guard My Life," but overall, the score, especially, needs of a lot of work. The first 2 songs are essentially rock songs, and they do little to further the plot. Moreover, these early songs give the audience the feeling that this is a rock musical, which it isn't, and nor should it be. Many of the songs seemed unnecessary, and didn't fit very well into the overall tone of the show. Meanwhile, many passed by where I think a song could have enhanced the moment. Furthermore, some songs seem to end abruptly, and then there was just a blackout. A couple of scenes ended abruptly, as well. It also seems inappropriate for the cast to sing a reprise at curtain call.
The cast is top-notch in this production, and the "best of the best" performance is given by Mr. Sbarge as Victor. His characterization of Victor is so unique that it's difficult to describe. He excitedly recites back stories that are being told to him, he stumbles over words and gets frustrated, and it's obvious that he's harboring a dark secret. Ms. Rue provides a perfect counterpoint as Celeste; she reads books about penicillin, creates stories where she is an exotic princess, and has a really great heart, as illustrated by a difficult decision she makes. also making an impression is Gregg Henry as Watson, who is constantly losing jobs, was "the rebel" back in high school, and whose true character and intentions are unknown throughout much of the musical.
Little Egypt certainly has the potential to be an absolutely beautiful production, both visually, and through the story and songs themselves. I very much hope that further development of it occurs, as it has a great deal of promise. Still, even as it stands in this current production, flaws and all, it is certainly worth seeing. If you think most works of musical theatre are the same, and that the form has lost all originality, seeing Little Egypt will restore your faith.
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