For a dreamy, trippy, zippy, sexy time travel musical back to the ’60s, don’t miss “Trip of Love” at Stage 42. There’s no book. It’s a musical revue, a form that we don’t see very often anymore. Juke-box musicals rule the day on Broadway these days. I mean “Beautiful” is still running, and the original Tony-winning”A Gentleman’s Guide to Love and Murder” has just closed. But “Trip of Love” totally surprised me with how delightfully entertaining it was. Without any plot or dialogue, it’s just very well put together entertainment by multi-talented director. choreographer, and SET-DESIGNER James Walski. And the sets are as eye-popping as the dancing is non-stop exhilarating.
I haven’t seen this much dancing in a Broadway show, (well, it’s Off Broadway actually, but who’s quibbling. It’s on W.42nd Street in a largish Off Broadway house.) since Bob Fosse left this planet. And a dancing show it is.”Trip of Love” is exuberantly entertaining. And the dancers fantastic.
And the men, dare I say it, are sexier in this show, than any I’ve ever seen. It’s true that most of the men are constantly losing their shirts in almost every number, but I found that refreshing, and even innovative.I was at a disadvantage in that the performance I saw the three female leads were out, but their understudies were all fine, so no wonder the men dominated the show, with or without their shirts.
Austin Miller had pants slung so low that they were in constant danger of slipping off. As did his co-stars Brendon Leffler and Joey Calveri. Backed by an incredible ensemble, who shone, and shimmied and burned down the house with their on-fire choreography by Walksi.
“Wipe-Out” was a particularly incendiary number (pictured at top), which of course, had no lyrics whatsoever, and in this case, with the dancers placed atop pillars of waves, they didn’t need them. It was that great surfing number with heavy guitar riffs.
Then Walksi would blow your mind with the ballads, particularly the beautiful “Moon River” with a giant silvery moon backing a shimmering blue river and a young dancer named Colby Q. Lindeman doing a pas-de-deux with a young ballerina from the ensemble, as Tara Palsha (I think…so many swings were on, I’m not sure who the actress/dancer was. Lisa Finegold?) Anyway, Palsha was on a swing, singing a plaintive “Moon River” in a style that Harry Mancini could’ve arranged himself. And would’ve loved. The set was so blue that the lyrics “Huckleberry Friend” finally made sense.
And this swoon-worthy number, that literally gave me goose-bumps, ended Act I in tremendous fashion. And took me back to the days when I, as youngster, was dreaming in the Bronx, of “Crossing you in style, someday. Dream maker, you heart-breaker, where ever you’re going, I’m going your way…”
And wearing out the red vynyl 45 RPM of “Moon River,” I played it so much. The Original, with the Henry Mancini chorus and orchestra. I loved that song before Andy Williams ruined it, for my money.
But director/creator/choreographer James Walski has brought it back to its “Breakfast at Tiffany” roots. And designed that blue Moon set that I will never forget. I can’t wait to see what his next extravaganza will be!
And that was just Act I! And Act 2, topped it in energy, enthusiasm and sexy brightness. I can’t wait to back to see it a second, and maybe even a third time!
And I have to say, Colby Q. Lindeman danced throughout the show, not just in the spectacularly moving “Moon River” number, and yes, he danced his way into my heart.