Hero Batowski has to succeed as a unique comic artist by drawing his own experiences in his own style rather than imitating others’ superhero creations. He also needs to get over paralyzing feelings over the death of his mom, loss of his high-school girl,and supplying help he thinks his father needs to sustain his comics store. In Hero: The Musical, the titular character faces his problems accompanied by best pal Kirk and to a nice pop-rock score.
In what’s becoming typical of Asolo Rep, production values here make the story and characterizations seem as super as comic-book feats. There’s a detailed turntable set backed by projections and fronted by further episodes out on the arch with lots of seasons-changing props and neon signs and a store well stocked with comic books and promo stuff. The real heroes -- the tech designers and crew along with Vic Meyrich’s uncredited production shop -- are as important as Michael Mahler’s tuneful score and simple lyrics.
Brian Sears typifies a Milwaukee guy whose talents are greater than might be expected of a Midwestern hero by Broadway-worshipers. Laurie Veldheer makes glorious-voiced Jane a good match for him. Michael Mahler stands out as cute, lively Kirk, who stops the show proclaiming, “A Vampire’s Kiss Means Forever.”
Dara Cameron as Susan, Jane’s regressive friend, progresses beautifully, especially “On Our Powers Combined” with Kirk.
Don Forston, a consummate professional, is Hero’s caring dad Al. He also provides a guiding light to Owen Teague’s young Nate, who retreats from being bullied by cultivating a tart tongue. These two characters are as real as any in a classic musical that shows everyday life.
Ian Paul Custer and Norm Boucher do as well despite undeveloped roles as slackers whose lives revolve around comics adventures found in Al’s store. Director David H. Bell rightly demands that all portrayers take their roles seriously.
Though well received in its Asolo Rep production, the musical needs further work which should include paring the oft-repeated tunes and unnecessary (a karaoke) or too-long (like “Phone Booth”) ones. The script doesn’t seem to want to end, and on press night ran ten minutes beyond the already lengthy time announced. I’m not sure the producers know the audience they’re trying to attract. If it’s people of all ages, then, some trimming of songs and addition of text may be in order.
