Bedlam’s “Music City” Country Musical Makes Me Smile Like the Sun – front mezz junkies, Theater News

The Off-Broadway Theatre Review: Bedlam’s Music City

By Ross

The stage at the West End Theatre UWS, NYC is being warmed up with some surprisingly strong singers participating in an open mic that I originally thought might be a bit more like sitting through a Kareoki night out with some friends who should not be handed a microphone (I’m at the top of that list, tbh). Still, the brave souls that got up on that well-laid out stage, designed authentically and immersively by Clifton Shadick (Ballet Arizona’s Moving Movies), were so good I thought they might be part of the show. One was, obviously, playing his well-crafted role from the show, but the father and future-possible son-in-law, who arrived at the show with his own guitar, I truly believe were just spectators, like me, and now super fans of Bedlam‘s solidly written, performed, and produced Music City. Guided through the paces by a very appealing man-with-a-clipboard, drummer Drew Bastian (TFANA’s Measure for Measure), his “What’s up, Nashville?!” really brought the space out from behind the Jiffy Lube to the center stage at The Wicked Tickle, a country western bar with an ongoing open mic night that delivers.

“Where’s my party people?” they sing, strong and true from the center stage, drawing us inward into this rocking good time filled with country songs awash with catchy lyrics and sweet grooves that can’t be held back, especially when delivered by the best buddy brother team of Drew, well played by Jonathan Judge-Russo (Signature’s Somewhere With You) and T.J., exceptionally portrayed by Stephen Michael Spencer (Bedlam/Red Bull’s Medea Re-Versed). Expertly crafted by JT Harding (music and lyrics) and Peter Zinn (book), Music City catches our ear at the Tickle, much like it does to record producer Tammy, played strong by Leenya Rideout (CSC’s As You Like It), who is looking around for a few good songs to hand deliver to her five-star-act Stucky Stiles, perfectly portrayed by an agile Andrew Rothenberg (Signature’s Curse of the Starving Class). It’s the stuff of country western dreams, one would think, that could lead the brothers to find the fame and fortune they dream about. The only thing in their way, naturally, is the money to record the demo Tammy asks for, but Drew has an idea, one that doesn’t sit so well with the more open-hearted, good-man T.J.

Drew brings the duo over to a local drug dealer buddy, Bakerman, also portrayed convincingly by a superb Rothenberg, who will invest in the demo, as long as they run a few drug deliveries for Bakerman. T.J. is the reluctant one, feeling uncomfortable with his role in feeding the addictions of others like the problematic Leanne, impressively portrayed also by Rideout, who astonishes us all in the role. Leanne once dreamed of being a country singer, but was ferociously beaten down by the industry and brought to her lowest by the drug that T.J. delivers to this beaten-down woman. It’s a well-formed, catchy framing, much like most of the songs delivered in this loving musical. Directed pure and true by Eric Tucker (Bedlam’s Vanity Fair), Music City is solidly played out within its emotional truth, backed by powerful vocals (especially Rideout and Spencer), that never seem to fail this original musical even when it borders on melodrama and stereotypes, as country music sometimes does.

Into the mix strides another wannabe singer/songwriter who goes by the name of “23“, usually portrayed by the equally strong-voiced Casey Shuler (just check out the videos circulating on Bedlam‘s Instagram feed). But on the Saturday night that I was lucky enough to attend Music City (because of a potential winter storm moving my flight to NYC up one day and a sadly canceled performance of Who’s Afraid of Virginia Woolf at Canadian Stage in Toronto – which I will now not be back in time to see – which kills me to the core), the role was played by Grace Bernardo, who was lovely in the part, filling those cowboy boots charmingly, even though her voice didn’t exactly match as well with the other powerhouses that surrounded her. But the building conflictual chemistry was there, and the complicated melodrama of their wistful relationship drove this twangy, honky-tonk musical forward with heartfelt appeal. Although I truly embrace that sung question “23” delivers so well: “Who am I to want anything more?“, I do feel that I need to return to hear Shuler dive into the role once I get back to NYC.

The music feels fresh and authentically chart-topping, as writer J.T. Harding, in his day job, is a multi-platinum songwriter for CW stars such as Blake Shelton, Keith Urban, and Kenny Chesney. He wrote the totally memorable bestseller, “Smile“, which was recorded by Uncle Kracker, a song that plays a big emotional role inside Music City, and along with a few others; “Sangria,” “My Masterpiece,” and “Somewhere in My Car”, the writing firmly creates the perfect energy and styling of contemporary country, making the whole thing feel authentic and ever-so-possible. The cast is exceptional, particularly Rideout and Spencer, grabbing instruments along the way and joining in with the rocksteady rhythm of the exceptional and talented band; Julianne B. Merrill (music direction and keys), PJ Ju (assoc. music supervisor/arranger/music director sub/keyboard), Drew Bastian (drums), Ann Klein (guitar and lap steel), and Tony Tino (bass). And because of them all, the show and the music feel consistently and authentically solid and essential, magical and dynamic, and musically as effervescent, energetic, and joyous as one could ever hope for. In Nashville, and I guess, now, on the UWS of Manhattan.

Within the big musical hooks and deliciously catchy songs, Music City scores high and strong, leading us through the shit-kicking framing with aplomb and hard-drinking and vocalizing power. Country music isn’t exactly my thing, although if performed well it definitely can catch hold of my heart and make my toe tap along, much like it did here. Bedlam‘s Music City has all those required ingredients, navigating the corny, and blasting forth the emotional clarity in its conflict resolution. It’s a blast of a musical, and I hope it gets the recognition it deserves. I know I’ll be back, and not just for the $4 beers, but to join in with the good time dreaming of artists trying to find their way to center stage.