Pop-rock star Sting (of The Police and solo fame) is making a splashy debut on Broadway. It is not with a personal appearance but rather as the composer of an impressive and rather traditionally conceived musical. Not entirely autobiographical, The Last Ship has been culled from Sting's memories of his early life growing up in an English coastal town that was once renowned for its ship-building industry. A grand and eclectically constructed score that is stunningly removed from anything resembling the rock musical style, it resonates fervently with the influences of Kurt Weill, as well as the folk cannon, sea chanties, and the jazz genre. At its best, it is the rock (in the original sense of the word) upon which the musical's weakly structured book co-written by John Logan and Brian Yorkey has been tethered.
Even beyond the lush melodic textures that carry the show, Sting's gritty and stirring lyrics do more to inform the characters' feelings than the feeble, minimally involving story. This is a shame as there is a thread running through this musical of an impassioned community fighting for its life after losing its sustaining industry. But the thread is weakest at its center as it plods through the story of a man, Gideon Fletcher, who returns to the town he left as a restless youth to escape the life of a ship-builder. Upon his return and just as shiftless as ever, he not only finds that his former girl friend has borne and raised the son he never knew he had but also has found love and support from another man. This plot line is anchored to the incredible decision by the unemployed workers to build one last ship. Total hokum, but we get on board in order to believe.
Notable for its lusty, tough-as-nails performances from both the men and the women, but with a particularly riveting one by Michael Esper, as Gideon, this musical is also graced with terrific choreography by Steven Hoggett. The exhilarating foot-stomping dances as well as the melancholy waltzes and beautifully sung ballads define the hard-scrabble life of the community.
A distinctly dark show in its dramatic content and in its grimly effective scenic design by David Zinn, The Last Ship, will most likely see Broadway as it last port of call.
