What to do when the announced world premiere big playwright/big show/big star cancel for one reason or another? Scramble. Fast. Fill the gap.
The world premiere of Kenneth Lonergan’s “The Starry Messenger,” which was to have starred Matthew Broderick, was announced to open the 2007 main stage season at the Old Globe. For as many reasons ” official and rumored ” as terrorists, that show was postponed.
The gap-filler is a new musical titled “Ace,” which debuted last year in St. Louis and Cincinnati, got some decent reviews, was seen by Globe officials, pronounced worthy, and brought part and parcel to the Globe; that is, give or take a few original company members who have moved on to other projects. Staged by Stafford Arima (“Altar Boyz”), the musical has book and lyrics by Robert Taylor and Richard Oberacker and music by Oberacker. It opened in the Old Globe Theatre Thursday, Jan. 18 and continues through Feb. 18.
Without a doubt, the best thing about the production is the performance of a poised, relaxed and involved boy named Noah Galvin. Possessed of a lovely voice and an expressive face that melts one’s heart, Galvin originated the role of Billy, an incorrigible 10-year-old who has every reason to act out.
In the opening scene, Billy phones 911 to save Elizabeth, his mother (Lisa Datz), an attempted suicide. She survives but is institutionalized. The traumatized Billy is placed in foster care with a loving but bewildered couple named Edward and Louise (Duke Lafoon and Betsy Wolfe). Edward gives Billy a model airplane and the boy is taken on magical dream journeys by a pilot named Ace (Darren Ritchie), first to 1917, where he witnesses the romance of a daredevil World War I pilot named John Robert (Michael Arden) and Ruth (chirpy Heather Ayers), and then to pre-World War II China with Claire Chennault and the Flying Tigers.
Unfortunately, Ace’s identity and therefore the soapy plot denouement are apparent by the end of WWI/Act I, thus precluding possible suspenseful payoff or surprise. This is the biggest flaw of the musical. Nonetheless, the ending evokes tears, much to the chagrin of the sentimental observer, who feels manipulated.
Though there are some memorable songs and moments, the music is mostly repetitive and manipulative, too. The highlights are the reprise of the male-bonding song, “In These Skies,” sung by Arden and Ritchie; the comedic “Now I’m on Your Case” sung by Billy’s precocious school chum Emily (dynamic 14-year-old Gabrielle Boyadjian, whose character owes much to Hermione in the “Harry Potter” series); and “Make It From Scratch,” Louise’s clever Tollhouse Cookie spoof of June Cleaver. The rest of the music, and even the tone of the lyrics, are derivative of Stephen Sondheim. One grows especially weary of edgy, female-belting songs that end on a dominant chord ba-boom, followed by light change and applause, and Arima’s circular pounce staging.
Michael Arden, who sang impressively as the son in last season’s ill-fated production of “The Times They Are A’Changin’,” gets to show off other facets of his lovely voice with excellent pianissimo singing. Ritchie is impressive as Ace, and Datz is affecting as Billy’s depressed mo her. Young Mr. Galvin can do no wrong.
David Korins’ metallic set evokes a high-flying biplane. Christopher Akerlind lights it effectively. Despite the sameness of the songs, I particularly enjoyed the orchestrations of Greg Anthony, especially his use of strings.
“Ace” continues through Feb. 18 with performances at 7 p.m. Sunday, Tuesday and Wednesday; 8 p.m. Thursday-Saturday; and 2 p.m. Saturday and Sunday at the Old Globe Theatre, 1363 Old Globe Way, Balboa Park. For tickets and information, visit www.theoldglobe.org or call (619) 23-GLOBE.
