The Road Not Taken

If/Then – Brown Paper Box

If one had the chance for a do-over, to go back in his life and relive a significant moment all over again, the outcome would undoubtedly be quite different. The rest of his entire existence would be changed. This is the fascinating premise of this musical, in which Elizabeth, an urban city planner, meets two friends in a New York City park. Lucas, a bisexual buddy from her college days, suggests that she should reclaim her nickname from college, Beth. Her new friend Kate, a lesbian kindergarten teacher, tells Elizabeth that the name, Liz, suits her much better. In that moment the story breaks in two. While Beth leaves with Lucas to join him at a protest against a development in Brooklyn, Liz stays with Kate to enjoy a park musician where she chances to meet Josh, a young doctor returning home from his Army tour of duty. Throughout the musical, Elizabeth’s life unfolds as two tales, depicting the if…and the then…two sides of the events of her life.

Brian Yorkey has fashioned a clever story, but it’s a libretto that’s often difficult to follow. After a few scenes of trying to keep the two stories straight, the audience should just sit back and allow it all to unfold because they’ll never be entirely sure whether they’re watching the story of Liz or Beth. Ultimately it doesn’t really matter in order to appreciate and enjoy this show. 

Tom Kitt’s score, with lyrics by Brian Yorkey, (the shared winners of the 2010 Pulitzer Prize for Drama for “Next to Normal”) is enjoyable, if a little too long. There are too many songs and only a few of them really stand out. The title tune, which opens and closes the show, is memorable. Liz/Beth’s “What the Fuck?” makes a statement that everyone can relate to, Kate’s “It’s a Sign” is powerful and Josh’s gorgeous “Hey Kid” is heartfelt and beautiful. Katie Capp’s choreography is simple, contemporary and sharp, while Elyse Dolan’s direction, hampered a bit by Jeremy Hollis’ somewhat generic scenic design in this modest space, is sensitive, focused and often moving.

In the leading role, Amanda Giles almost makes audiences forget that it was the stunning Idina Menzel, who created this role on Broadway. Ms. Giles is magnificent. A standout musical theatre actress, Ms. Giles will be remembered for her performances in “A Man of No Importance,” by Pride Films & Plays, as well as in Underscore’s “Carrie 2: The Rage” and “My Name is Annie King.” She’s lovely, natural and unforced, and possesses a clear belt that fills the Athenaeum’s intimate venue. Amanda creates a character that’s layered and honest, a young woman faced with choices and decisions, each of which change and affect, not only herself, but everyone in her life. In this way she’s just like all of us.

Handsome Michael Peters makes his debut with Brown Paper Box playing Josh with a gentle ease, a profound kindness and a sincerity that makes his character likable and earnest. Audiences will wish they could spend some real time with this man. Mr. Peters’ performance is without push or pretense, and we cheer for his successes and weep for his pain. As Lucas, the always effervescent Parker Guidry brings depth and dazzle to yet another role. Guidry may be remembered for their show-stopping portrayal of Pythio in Kokandy’s production of “Head Over Heels.” Here Parker shows us a young, bisexual man who cares deeply for their friend, Beth, while finding love and life with David (played with sweet sincerity by Michael Idalski). Matthew Fayfer and Jennifer Ledesma bring life to Elizabeth’s old friend and employer, Stephen, and Elizabeth’s assistant, Elena. Bridget Adams-King is sassy and humorous in the role of Kate and Alanna Chavez makes Anne, Kate’s life partner, a lovable yet feisty force of nature. Both actresses are powerhouse vocalists and sing the hell out of this score.

The opportunity to revisit a turning point in one’s life might well be a blessing. To have the opportunity to walk down a road not taken when first encountered would indeed be a life-changing experience. Hindsight is always true and clear; the chance to go back and make one’s life better, to make wiser choices, is a wish we can all appreciate. In this musical, a young woman is given the chance to reevaluate her the choices that she’s made and, in the end, Elizabeth finds herself “Always Starting Over.”

Recommended

Reviewed by Colin Douglas

Presented January 23-February 16 by Brown Paper Box Co. in Studio Three at the Athenaeum Theatre, 2936 N. Southport Ave., Chicago.

Tickets are available in person at the box office, by calling 773-935-6860 or by going to www.BrownPaperBox.org.

Additional information about this and other area productions can be found by visiting www.theatreinchicago.com.