It is a shame to have to write about a terrific almost-new musical knowing that it is about to close this weekend (Sunday May 1). But that is the case with the disarmingly performed, musically pleasurable, altogether winning Crossing Swords by Joe Slabe (rhymes with “the bay”) in which its 20th century plot pivots off the classic 19th century romantic drama Cyrano de Bergerac. It is a teenaged twist on the old “he loves her but she loves another.”
If you most likely missed Crossing Swords (as I did) when it was first presented as part of the New York Musical Theater Festival in 2013, you must keep your antennas on the alert for future productions, some of which are bound to show up on regional stages across the country. With its play-within-a-flashback-within-a-play conceit and set in and around the all-boys St. Mark’s Catholic School in 1969 and the all-girls St. Anne’s, the main story is cradled within a present prologue and epilogue.
In the prologue/present, Jeremy (Steven Hauck) is middle-aged as is Nicky (Sarah Dacey Charles). These former teens have reunited and choose to reminisce following a funeral of Sir, one of the teachers at St. Marks. Their memories are primarily of their own romantic experiences as teenagers rehearsing a production of Cyrano.
In the flashback, a very fine Hauck now has the role of Sir, a stuffy, closeted math teacher who has a slightly contentious relationship with Miss Daignault, the girl school’s French teacher, as played with Gallic esprit by Charles). The touching backstories of both Sir and Miss add a commendable dimension to their characters.
Back in 1969, Jeremy (played with an appealing exuberance by Jeremy Greenbaum) has won the role of Cyrano. During rehearsals he finds that his attraction to his good-looking co-star, best friend and school jock David (Chase Crandell), is more than simply friendly. With an impressive tenor, Crandell is splendid as the frustrated, poetry-challenged Christian. As you might expect, the shy David is enamored of Nicky (a beguiling Ali Gordon) who, misguidedly has the more effusive Jeremy in her sights.
Friendships all around are strained to the breaking point and fueled by the constraints of the as-yet-unliberated sexual mores of today. In particular, Sir’s discomforting lecture to the embarrassed Jeremy on the need for suppressed feelings is a stinging reminder of outmoded psychology.
Pleasures abound within this mangled mingling of three romantic teens and their seniors and include humor-filled rehearsals, some excellent swordplay (credit to fight choreographer Trey Compton), and the high level of acting, under the direction of Igor Goldin. Best of all is the ambitious, bright and lyrical score by Slabe in which every affecting ballad and ensemble number is beautifully sung by an exceptionally talented company.
The modest but accommodating setting designed by Bethanie Wampol serves the action. Of importance is an underlying poignancy to the plot that makes this refreshing musical something very special. So, I hope that I’ve said enough to get you headed with haste to the production by the American Theatergroup at the Hamilton Stage in Rahway, NJ.
