JUST PLAYING THE GAME
REVIEW: BREAKING THROUGH
BY RYAN M. LUÉVANO
The latest new musical at the Pasadena Playhouse Breaking Through, book by Kristen Guenther and music and lyrics by Cliff Downs and Katie Kahanovitz, offers an all too familiar musical story about artists navigating the murky waters of the music business. Set in the present, the musical focuses on singer Charlie Jane’s journey on the conveyor belt of the record industry’s star-making factory and her struggle to retain her artistic integrity.
True to Pasadena Playhouse fashion, the production is a spectacular display of visual stimuli—fantastic projections by Kaitlyn Pietras bring the sets to life; superb lighting design by Jared A. Sayeg artistically illuminate the stage; and the intricate and titillating costumes by Alex Jaeger can’t help but entice. Add to this the energetic, sharp and flowing choreography of Emmy-Award winning choreographer and guest judge of “So You Think You Can Dance”, Tyce Diorio, and you have a grand extravaganza. Of course the question that remains is: behind all the smoke and razzle-dazzle is there a musical that will resonate with audiences and endure, or is this show just a shiny toy destined to be forgotten once the allure is gone?
Alison Luff, center left, and Matt Magnusson. Photo Credit: Jim Cox Photography.
The casting by Michael Donovan and the Casting Society of America definitely hit the mark—every member of Breaking Through from lead, supporting, to ensemble is marvelous! Alison Luff (Miss Honey, Broadway’s Matilda; and Elphaba, 1st National Tour of Wicked) makes her Pasadena Playhouse debut as the singer, songwriter, and dreamer Charlie Jane. Luff is captivating through and through; her performance as Charlie is a perfect blend of naiveté and tenacity; her voice is akin to a fine, yet complex wine brimming with only the best notes—smoky, powerful, and sweet. Luff is in complete control of everything she does on stage, she’s a consummate professional. Matt Magnusson (Scorpio) represents the Justin Timberlake’s of the world, his performance is focused and precise—he’s the cool, slick and broken king of pop.
Alison Luff, left, and Matt Magnusson. Photo Credit: Jim Cox Photography.
Will Collyer (Smith) is the craft services attendant who offers so much more. Collyer’s performance is sincere and deep, creating one of the only other characters that the audiences are truly rooting for. He wins this charm over the audience with his warm and husky voice. Collyer’s rendition of “In A Song” and its reprise are strikingly heartfelt. Charlie’s lesbian best friend Gwyn played by Teya Patt is the comic relief of the show whose booming voice energetically leads the three company numbers, “It’s Aright”, “What Happened To That Girl”, and “Do Without You.” Nita Whitaker (Amanda) is the strong businesswoman and Charlie’s mother figure whose soulful voice resonates with emotion in “It’s Gonna Be Huge” and “For the Best.”
Alison Luff, center left, and Will Collyer. Photo Credit: Jim Cox Photography.
Overall, Breaking Through gives the impression of a musical written, or reworked with too many cooks in the kitchen, not necessarily collaboration but rather an anomaly of sorts. The musical’s various elements (music, lyrics, book) do not quite fit together—the bricks are there but there’s no mortar holding them together. The story takes place in the present referencing today’s pop music industry yet the music evokes the 80s and 90s pop scene complete with 80s drum machine drumbeats and lyrics are equally outdated and prosaic. Additionally, country to musical theater standards most of the songs in the show stem from pop performances in the musical, not dramatic moments. Sure jukebox musicals like Jersey Boys, Motown, Beautiful: The Carole King Musical, Movin’ Out, American Idiot, and the new Emilio and Gloria Estefan’s musical On Your Feet are guilty of the same thing, the difference is those musicals are based on songs that audiences already know and enjoy so these shows follow a complete different set of paradigms. The book is equally disconnected with various issues of pacing, story development, character arc and a lack of musical heart.
Alison Luff, left, Kacee Clanton, center, and Matt Magnusson. Photo Credit: Jim Cox Photography.
WHAT ABOUT THE MUSIC DIRECTOR?
Music director David O. wears many hats, as he is also the music supervisor, arranger, conductor, and keyboard player. David conducts the show from the keyboard and expertly leads the rockin’ 5-piece band. All the music in the show is crisp and clear; David flawlessly prepares the cast in this original musical.
Breaking Through certainly plays the “music-biz-musical” game, though unfortunately the show’s not enough of a game changer to have its own break through experience. If you’re looking for a hybrid concert-musical experience with high production values and a stellar cast then this is the show for you, but don’t expect to be captivated by too much else. Breaking Through runs through November 22 at the Pasadena Playhouse, for more information and tickets visit pasadenaplayhouse.org.
