Eastland

The world premiere of the musicalEastlandopened at Chicago’s Lookingglass Theatre, with a script by Artistic Director Andrew White and music by Ben Sussman and artistic associate Andre Pluess. The result is promising but still feels like a work in progress.

The show’s current length, 90 minutes, doesn’t allow much time for character development, which makes Eastland less than it could be.

Based on a real-life incident in July, 1915, the overloaded Eastland tips over a short distance from port and 800 lives are lost. Yet the horrendous event doesn’t receive much media attention outside of the Chicago area. The answer may lie in the fact that these are working-class families on a company holiday. Unlike the Titanic, there are no Roosevelts or Astors involved in this equally tragic event. Also, a story about a boat tipping over just beyond the dock isn’t nearly as gripping as a tale that involves huge glaciers in arctic waters.

Instead, this musical takes us into the lives of ordinary people, most of whom string cable for a living. One family has reconfigured itself with an uncle substituting for a father who died on the boat while immigrating to America. In another family, a young woman is trapped in a lifeless marriage, yet hesitates at encouraging the attentions of a handsome grocery store owner. Two young girls in the first family are excited at the prospect of getting on a boat, although the older members can’t help but think about the unhappy events of their unfortunate passage to the U.S.

The musical moves at a jerky pace that sometimes confuses the audience about which character belongs to what family. For instance, in reading the program materials, it seems as though more members of one family survive than is suggested by the staging. This suggests that some of these relationships need to be sharpened. Also, one would have liked to see the musical probe further into the lives of these people. The audience is teased by subplots that could have been drawn out.

The songs are impressive, if not particularly memorable. Some of the tunes have a gentle, country sound. Others represent brass band music, such as the kind played by bands at a ship’s departure.

The 12-member cast serves as both characters and members of the band, switching back and forth as needed. This intriguing concept works particularly well. One recalls a drowning girl who drops through a hole in the stage floor (i.e., sinking back into the water) and reappears moments later playing an instrument in the band, which is located upstage. This is one of many innovative staging touches. Another is the way victims are represented. Actors briskly walk onstage, carrying heavy metal baskets. The baskets are gingerly placed on the stage and the actors depart. Later, a hook is lowered from above, and a member of the rescue team dips the hook into a basket. When the hook is withdrawn, it is attached to Victorian clothing that emerges from the basket dripping with water. The dripping water is a terrific sound effect.

To make things even more haunting, as each set of clothes slowly emerges, the “drowned” character briefly reappears onstage wearing dry clothing. The silent characters look on, bewildered.

Eastland’s talented cast includes: Marianne (Christine Mary Dunford); Sister (Jeanne T. Arrigo); Solveig, another daughter (Tiffany Topol); Otto and Olaf (both men are played by Lawrence E. Distasi); Husband (Derek Hasenstab, who also makes several cameo appearances as Harry Houdini); Grocer (Erik Hellman); Bobbie (Claire Wellin) and Reggie (Doug Hara).