By David Gordon
High Fidelity, the new musical based on the novel and film of the same name, falls into the category of “when bad books happen to good shows.” It is little more than a series of great rock music (all written for the stage) tied together in a sub-par book about a character that nobody cares about. It is not librettist David Lindsay-Abaire’s fault and it’s certainly not composer & lyricist Tom Kit and Amanda Green’s. The problem lies in the fact that the main character is, simply, a loser who does nothing to deserve the happy ending he receives.
Many people have seen the recent film starring John Cusack. If you’re a fan of that or the novel, you will not be disappointed. High Fidelity tells the story of Rob (Will Chase), the owner of the “Last Great Record Store in New York.” His girlfriend, Laura (Jenn Colella), has just dumped him (for reasons we find out midway, I won’t spoil them here.) Rob, an obsessive list maker, decides that Laura is not worth of his Top 5 list of break-ups. Then, she (and the five girls on the list) haunts his dreams and it all changes. Meanwhile, Laura has taken up a relationship with Ian, a Buddhist (Jeb Brown) and is constantly haunted by Rob’s stalker-like phone calls. Throw in Rob’s friends, Dick and Barry (Christian Anderson and Jay Klaitz), as well as Liz (Rachel Stern) into the mix and there’s your show about nothing. Rob spends the entire show pining after Laura, and, of course, for some unbeknownst reason, wins her back.
The trouble with High Fidelity is that Rob is not a compassionate character. You don’t want him to win back Laura; you don’t care enough for either of them. Thankfully, the actors do their best to make up for the shortcomings of the story.
Will Chase is giving an excellent performance, acting and vocal-wise. Chase, who won raves for his portrayal of John Lennon in the short-lived musical “Lennon,” is finally given the spotlight he deserves. Jenn Colella is great as Laura, but the character is too severely underdeveloped. Jay Klatz and Rachel Stern steal the show, channeling (much to the audience’s delight) Jack Black and Joan Cusack, who played the roles in the film.
David Linday-Abaire’s book is not for the faint of heart; there are more f-bombs than any episode of The Sopranos. It’s well-constructed but in no way manages to convey emotion. Tom Kitt and Amanda Green have created a wonderfully original score that blends the many different styles of rock. Not only are they great melodically but they’re surprisingly witty. The act 2 opener, involving Lyle Lovett and a Will Chase hoedown, is the showstopper, only until you get to the Act 2 segment where Rob beats up Ian. Multiple times. And then, THAT is topped by a special appearance by Bruce Springsteen. How can you go wrong?
Despite its shortcomings, High Fidelity is worth the ticket price in the second act opener. Involving Lyle Lovett and a Will Chase hoedown, it may seem to be the showstopper, but only until the segment in the same act where Rob beats up Ian…multiple times. The brawl is topped by a special appearance by Bruce Springsteen – how can you go wrong?
The set and lighting (by Anna Louizos and Ken Billington) are remarkable and some of the best I’ve seen on stage. Walter Bobbie and Christopher Gatealli have directed and choreographed a high energy production that, despite the shortcomings, will certainly make the audience leave with a smile.
GRADE: B
