Let me preface this by writing that Into the Wild at the Encore Musical Theatre Company is a developmental premier of a new musical with aspirations to get to Broadway. It will get there eventually and you should see it now while you can. And you should not miss the superstar performance of Conor Ryan, but I will get to that later. While it is technically a workshop of the show, it is hard to call it that because everything here is so well polished that it is almost hard to remember that this is a work-in-progress and will still change and grow over time.
Into the Wild is one of those rare experiences that will stay with you long after you’ve seen the show and it is also by far Encore’s most technologically advanced production to date. With music and lyrics by Niko Tsakalakos, Book and Lyrics by Janet Allard, the musical is bound to leave you thinking and talking. It is a matter of opinion as to whether you believe Christopher McCandless was an explorer and risk-taker off to find himself in the Alaskan wilderness — or if he was an idiot egotist with a death wish and possible mental illness out to spite his conservative family. Fact: 25 years ago, McCandless took off after college and bummed around the US and Mexico until making his way to Alaska, eventually starving after eating potato seeds loaded with neurotoxins that can paralyze a person over time. You might have read the wildly popular book by Jon Krakauer, or seen the movie, or read the amazing New Yorker article about his death a few years ago. But there is no denying that what the authors and musicians have done here is to make you feel empathy toward this misguided young man and his family, no matter what your personal opinion in the matter, and that is no mean feat.
Conor Ryan is simply remarkable as Chris. He is the beginning and the end of the show and everything outstanding in between. He’s already a NY theater star, graduating from UM’s musical theater program a few years ago (remember him as Valjean?) and immediately going into Cinderella on Broadway, and then co-starring with Kate Baldwin (as well as recording the new cast album) in John & Jen. Here, his vocals and acting soar – literally at one point – and it was a wise decision to bring this young soon-to-be-superstar to Dexter for this premier. Conor’s vocals are exquisite and his acting is superior all around. You should not miss this performance, because he is the Next Big Thing but also because he IS that talented. Sarah Briggs and Greg Bailey play his parents, and they are spot-on in their roles, and their songs. Young Chris is played by local child wonder Connor Casey, and he eschews cute-as-a-buttonness for a bitterness and edge that can already be seen in the character as a child. Nice work. Other folks that get caught up in the mess that is Chris McCandless include Daniel A Helmer who mixes humor and warmth in his roles, especially that of Wayne; Gayle E Martin as Jan who brings some powerhouse vocals to her songs, especially “Forgiveness” in the Second Act; Alexandra Reynolds who is sweet and personable as Tracy; the versatile Matthew Pecek in multiple roles; and Mike Szymanski as substitute father-figure Russ.
Tyler Driskill serves as musical director as well as pianist and conductor of the outstanding 6-piece combo band. Vocals throughout are excellent, diction is great, and harmonies soar and land just where you expect. There were tears in audience members eyes, as well as a few of the performers, by the time the show reaches the sad ending and “Live Before you Die”. I particularly liked that the band was visible with the wall removed, instead of tucked away in the back room. Brian Usifer’s arrangements and orchestrations sound great.
This is a good time to mention that score — Oh My God fantastic. This is a show that deserves a studio recording as soon as possible — get it out there, let people listen to it in their cars and on their iPhones, and sing along at top voice — it is that kind of score. Allard and Tsakalakos have created music and lyrics that could easily hold its own against any of the current bumper crop of new musical Broadway scores this season. I fully expect it to be in competition for a Tony sometime very soon. I loved it, and actually found myself humming “Alaska” on my way to the car. Can’t remember the last time I could do THAT after a new show. This is like discovering something very special and precious, and while it will still be developed and is sure to change a bit, the score is utterly fantastic. In the capable hands of the musicians on stage at Encore, it takes flight.
Then there is the artistic and technical end of things. – WOWSA. Director Mia Walker keeps things moving swiftly and makes good use of the multilevel set. The set design/projection design by Stephanie Busing is breathtaking: the projections here are beautifully interwoven with the story and later break your heart as you see “Day 99, Day 100, Day 101” approach. Robert Perry does excellent work lighting it all – things look brighter and more colorful than any show I can remember at Encore. Jenna Brand’s costume design is perfect, and inquiring minds want to know: “how did he change onstage from his shorts to the long pants without anyone noticing”? Anne Donevan’s properties are outstanding – from boat oars, to hiking equipment, cookouts, bars, books – it is also all cleverly concealed on stage so that it appears as you need it and disappears virtually unnoticeably. Sound design by Chris Goosman and Terry Williams is terrific. In short, this is the finest and most complicated technical production Encore has endeavored to produce, and it works spectacularly well.
While I almost hate to mention it, the show itself runs a bit too long and could use some tightening and shaping – and (I hate to say it) more musical cuts. Currently clocking in at 2:45 with the intermission, it needs some work which I am sure it will get as things move along in this development production and whatever next step this musical takes.
I have no doubt the final step will be Broadway. It deserves to be there. It will get there. And I’ll be there to review it all over again once it opens in New York. Congratulations to everyone involved with this production, I am going back to see it again before it leaves Dexter en route to points East.
Very Highest Recommendation.
Into the Wild’s developmental premier continues at Encore Musical Theatre Company through May 7th. 3126 Broad Street, Dexter Michigan. Tickets at http://www.theencoretheatre.org or by calling 734-268-6200.
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