Dead Men Tell No Tales

Midnight in the Garden of Good and Evil

“To understand the living, you’ve got to commune with the dead.” So says Minerva, the Voodoo Priestess, after she lures Jim Williams, the musical’s main character, to the cemetery where this musical begins. She will try to help the Savannah antiques dealer, accused of murdering his male lover, to prepare for his impending trial. The ritual takes place around midnight, during the period of time for hoodoo good and evil magic, and hence the book’s title. During the half hour before twelve o’clock, Minerva explains, good can be generated, while the half hour following midnight is for evoking evil. Through Minerva’s intervention, a role beautifully portrayed by multitalented Chicago actress Brianna Buckley, Jim will try to believe that dead men tell no tales.

Ah, but it turns out that they do—at least they do in multi-award-winning playwright, Taylor Mac’s, fine adaptation of author John Berendt’s NY Times bestseller of the same name. The musical blossoms with the incredible music, lyrics, arrangements and orchestrations by Jason Robert Brown (PARADE, THE LAST FIVE YEARS, THE BRIDGES OF MADISON COUNTY). In 1997 a popular film adaptation of  the nonfiction novel was directed by Clint Eastwood. But it should be noted that each interpretation of Jim Williams’ story is its own independent art form and must stand alone. To appreciate this musical, theatergoers familiar with the book and/or the film should draw no comparison. This much-anticipated world premiere just might be headed to Broadway in the near future.

The musical is filled with Southern atmosphere. Upon entering the Goodman Theatre, audiences will feel the eerie, Southern Gothic charm. They’ll imagine the heat and oppressive humidity of Savannah, all suggested by the stunning visuals. Immediately patrons will be impressed by a stage highlighted by a collection of towering funereal statuary and accented by a multitude of trees dripping with Spanish moss. All of this is courtesy of gifted, award-winning British Set Designer, Christopher Oram. The moonlight reflected over the water and diffused by mist, as well as the romantic Southern Gothic atmosphere of the entire story, illuminated by candlelight and beautiful crystal chandeliers, are all thanks to the Lighting Design team of Neil Austin and Jamie Platt. And Toni-Leslie James’ gorgeous, colorful and period-perfect costumes, accented by Matthew Armentrout’s stylized Wig/Hair Designs, are truly the icing on this theatrical confection.

This brand-new musical is nicely brought to life with fortitude, focus and finesse by Broadway Director, Rob Ashford (FROZEN, HOW TO SUCCEED, THOROUGHLY MODERN MILLIE, CURTAINS). The show also features some jaw-dropping, absolutely gravity-defying Choreography by Tanya Birl-Torres (THE WIZ, MEMPHIS, ON THE TOWN). Jon Weston’s terrific Sound Design enhances the Southern atmosphere with its environmental tones. And a brilliant, 12-member pit orchestra, conducted with feeling by Thomas Murray, provides vocal  accompaniment and dance music.    

Not to give away too much of the plot, the mostly true events of this 30-year-old story, set in the 1980’s, revolve around one real-life person, as well as a large cast of bizarre, supporting Savannah personalities. Jim Williams, portrayed with power and panache by Broadway star, Tom Hewitt (HADESTOWN, CHICAGO, THE LION KING) is a wealthy, respected antique dealer and restorer of historic homes. He lives in the antebellum mansion called the Mercer House. Into his employ he’s hired handsome ne’er-do-well, Danny Hansford (an excellent Austin Colby, in his Goodman Theatre debut) 

In addition to his restoration work, Jim is famous for throwing lavish parties, especially an annual December holiday soiree. It’s the social event of the year and everyone who’s anyone hopes to be included on his guest list. This includes Emma Dawes, humorously played by lovely and adept Broadway diva, Sierra Boggess (HARMONY, SCHOOL OF ROCK, THE LITTLE MERMAID). She’s a snobby, self-centered socialite, who is the president of Savannah’s Historic Preservation League. Ms. Dawes enjoys bossing around the ladies who make up the membership of her elitist group (played with snark and style by Mary Ernster, McKinley Carter, Jessica Molaskey, Kayla Shipman & Bailee Endebrock) who, with their gossip and gloating, form a kind of Greek chorus.

But the true star of this musical is, without any doubt, Tony Award-winning Broadway star, J. Harrison Ghee. Making history as the first non-binary actor to win in a leading individual performance category for playing Daphne/Jerry in SOME LIKE IT HOT, this truly gifted performer dazzles in every scene as The Lady Chablis. Taylor Mac, and through Ghee’s performance, has smartly elevated this character from supporting status to becoming a character equal in importance with Jim Williams. Both their journeys to understanding are paralleled in the eleventh hour duet entitled “Restoration.” And in the musical’s lovely finale, “Butterflies,” the personal progress experienced by both leading characters finally extends to all of us, as well.

As in most out-of-town tryouts, the show has a few problems that can still be fixed. The final scene seems to just happen, without much of an impact. There’s a good mixture of the funny and the dramatic packed into this moody, eye-popping production, but there’s little final payoff at the end. However, fans of John Berendt’s fictional true-crime novel, as well as enthusiasts of the 1997 film, must remember that this is simply another retelling of the same true story. It’s also a different genre. The musical is another work of art that’s meant to stand on its own, without comparison to either of the others. All are based upon Jim William’s tragic tale, but they are all different and their own creation. 

Ghosts roam the cemetery, socialites gossip and drink at posh parties, bawdy revelers dance the night away at the Shed Shack, where The Lady Chablis entertains. And, of course, a murder is committed. It’s always a treat to see a new musical in Chicago, especially when it stars three giant talents of the Broadway stage and may possibly headline someday on the Great White Way. But at 2 hours and 45 minutes the production runs much too long. It’s always difficult to advise where cuts should be made. Perhaps some of the subplots could be eliminated and, although the silence at the beginning drew the audience into the play, it was a long time before it felt as if the musical had actually commenced. But, as one character says, “Truth, like art, is in the eye of the beholder.” And there’s plenty of truth here to be found among the living, especially just by chatting with the dead.                  

Recommended

Reviewed by Colin Douglas

Presented June 25-August 11 by the Goodman Theatre in the Albert Theatre, 170 N. Dearborn, Chicago. 

Tickets are available in person at the Goodman box office, by calling 312-443-3800 or by going to www.GoodmanTheatre.org.

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