Not many productions make their debut at Ford's Theatre. In fact, it's been more than five years since a world premiere graced the historic stage. But in "Meet John Doe," Ford's has found something that was well worth waiting for.
The musical, based on the 1941 Oscar-nominated Frank Capra film of the same title, takes place in Great Depression-era New York City. The brilliant Heidi Blickenstaff plays Ann Mitchell, a reporter with gumption to spare. In a desperate attempt to save her job, invents a story about a man, alias John Doe, who plans to jump off the Brooklyn Bridge in protest of the social problems plaguing Americans.
In order to keep up the scam, the newspaper hires John Willoughby, a former baseball player, to play John Doe.
The average people, or the John Does of the play, are enthralled by the story of this man, the voice of hope amid the clamor of chaos. The problem is, the audience is not nearly as enchanted by James Moye's Willoughby as the 1931 United States seems to be.
Moye's acting, though not stellar, is nonetheless solid. The real problem with Willoughby's character, however, is the lack of character development on the part of the musical's writers.
It is not until "Thank You," the second number of the second act, that the audience really begins to believe in Willoughby's merit and his belief in the John Doe cause.
Lighting designer Rui Rita does an outstanding job, using her skills to emphasize characters' actions, pause time and even simulate camera flashes, without detracting from the scenes.
Derek McLane, the set designer, also does a wonderful job converting the historic theater into a lonely-looking industrial space decked in black and white in honor of Capra's film.
Beyond reflecting an old movie, however, the black, white and shades of gray reflected the many moods and truths of play. It shows the desolation of the Depression as well as the lack of absolute goodness in many of the show's characters.
Coupled with the orchestra, under the direction of Jonathan Tunick and music director Jamie Schmidt, one feels as if he's fallen right into 1931 the moment the lights dimmed.
The stage's fourth wall also falls at times, including the audience in the action of the play as a hopeful nation watching John Doe. They are just as enamored with him as the ensemble.
Overall, the cast delivers Andre Gerle and Eddie Sugarman's musical without missing a beat, which is especially impressive in the fast-talking "I'm Your Man." In it, Guy Paul's Richard Connell first emerges as one of the few genuine characters in the show. This is further exemplified in "Lighthouses," in which he sings, "lighthouses in a foggy world, they show us where to steer," expressing the need for moral compasses in this corrupt world.
"Money Talks," featuring Joel Blum as the Colonel, hilariously expresses the thought that America was (and is) driven by money. The number, one of the audience's favorites, if such things can be measured in terms of applause, is well choreographed, playing to the strengths of each of the characters involved.
Gerle's and Sugarman's music and lyrics, filled with Biblical allusions and patriotic statements, not only echo the sentiments of yesteryear, but also those felt today, as in the midst of war the nation searches for something genuine to guide it.
And while Willoughby's Doe begins as a simple masquerade to make a quick buck, the show proves that sometimes belief and hope are enough to make a lie true and give the world something to believe in.
Is it a clich?, sadly hopeful message? Maybe. But the delivery is neither trite nor empty, and it might just be what the world of music theatre is missing.
