Start with the humor of "The Producers" and good dose of "Wicked" wit. Add the bounciness of a "Movin' Out" ballad, the emotional punch of "Les Miserables," and just a touch of "Li'l Abner" absurdity. Top it all off with a deranged Frog Prince named Mr. Bungee and maybe - just maybe - you'll begin to understand what Torn Ticket II's (TTII) production of "A New Brain" was all about.
Originally the work of acclaimed Broadway writer-composer William Finn, "A New Brain" is Finn's semi-autobiographical tale of Gordon Michael Schwinn, a fictitious songwriter who, like Finn himself, is forced to drastically re-examine his life and career when he is diagnosed with a life-threatening brain tumor. Following Gordon's creative process as he weaves in and out of consciousness, the show combines timely comic relief and a lighthearted musical score with a more serious approach to unanswered questions on life, love, and death.
With powerhouse performances from every member of the 10-person cast, impeccable musical direction, and first-rate technical production, this was the crowning achievement of TTII's fall run.
Led by Tufts theater veteran senior Andrew Beattie in the role of Gordon Schwinn, the cast of "A New Brain" oozed talent all over the stage. Beattie handled the role of a tortured artist with seasoned grace, simultaneously conveying the character's physical and mental anguish in poignant juxtaposition.
The open, intimate portrayal of Gordon's inner thoughts allowed the audience to make a deep connection with Beattie's character: they felt his frustration, his disappointment, and his ultimate triumph as if it were their own.
Although Beattie's singing did not quite measure up to his acting in some parts, the supporting cast of "A New Brain" provided ample compensation. From the waitress at the diner where Gordon first succumbs to the tumor's symptoms, to the "nice nurse" who attends to him in the hospital, the supporting virtuosos almost outshined the leading man.
Wowing audiences with their tricky, jargon-laden lyrics and even trickier plot movements, ensemble numbers like "Family History" and "Craniotomy" ensured that the stage was always alive with activity and excitement.
Standout performances included those of seniors Mike La Fazia (Gordon's lover, Roger) and Bonnie Lury (Gordon's mother) whose sorrowful ballads of concern for Gordon's future tugged heavily on the audience's heartstrings.
Roger's romantically charged duets with Gordon were especially moving, adding a new level of depth to the pair's relationship.
Freshman thespian Rebecca Schoffer also turned in a spectacular vocal performance as the all-knowingly sage homeless woman that occupies Gordon's front stoop.
Behind the scenes musical director senior Anne Damassa, choreographer senior Rachel Sliman, and pit director senior Erik Kesting - worked together seamlessly to bring Finn's humorous and heartfelt score to life.
In a show with very little straight dialogue, there was no room for orchestral error, and the pit crew of "A New Brain" did not disappoint. Kesting's musicians provided a flawless backdrop for the onstage dance numbers, coordinating every note with the dancers' movements and punctuating both the most comical and most moving scenes with a touch of extra emotion.
The return to the basics approach to stage direction used by senior Rebecca Alspector both refreshing and engaging.
A highly successful collaboration with juniors Abby Estabrook and Matt Saide (lighting and sound design, respectively) allowed Alspector to wittily execute scenes like Gordon's out-of-body experiences, tumor-induced delusions, and the tactfully handled shower scene between Gordon and Roger.
In the end, "A New Brain" proved to be an eclectic amalgamation of theatrical genres: a little comedy, a little drama, a few moments of grim defeat followed by outstanding accomplishment. The play struck just about every chord in the spectrum of human emotion, but mostly, it was inspirational. Like Gordon's epiphany when the veil of sickness is lifted from his eyes, everything just sort of clicks.
In that moment, the play's message becomes clear: it's not about the happy parts and the sad parts, but one big struggle to keep hope alive in the face of insurmountable odds. The cast of "A New Brain" shows us that a play is more than just the nitty-gritty technical elements but that intangible "something" that holds it all together. Because, as the title song says, you can't have "music" without a little "heart."
