Theatrical productions are like collaborative jigsaw puzzles. When the pieces—script, acting, direction, design, etc.—fit perfectly together, you have a genuine, amazing experience. But sometimes you get some extremely well-done and satisfying pieces, but they don’t quite line up or they are matched with lesser elements and the whole is less than scintillating. You walk out with a sense that something vital is missing, and you can’t put your finger on what was lacking.
That’s the case with The Connector, a pulse-pounding, off-beat tuner from Jason Robert Brown (score) and Jonathan Marc Sherman (book), with an interesting story, a solid cast, an energetic score from Jason Robert Brown, snappy script by Jonathan Marc Sherman, and assured direction by Daisy Prince. This compact but fuzzily conceived musical presented by MCC Theater explores the trend of print journalists inventing sources and facts, perhaps inspired by the real-life examples of Stephen Glass of The New Republic, Jayson Blair of The New York Times and Janet Cooke who returned her Pulitzer Prize after it was revealed her stories for The Washington Post were fabricated.
Set in 1995-97 New York, the action takes place at the fictional title magazine and focuses on the rocket-like rise and just-as-rapid fall of flashy scribe Ethan Dobson (a kinetic Ben Levi Ross). His quirky, colorful character studies catch the eye of grizzled editor Conrad O’Brien (Scott Bakula exuding shaggy charm) and his stories are soon appearing regularly to acclaim in the Connector.
Ambitious copy editor Robin Martinez (a commanding Hannah Cruz) smarts at being passed over for publication—there’s obvious sexism at play—and she begins to detect inconsistencies in Ethan’s articles. Diligent fact-checker Muriel (Jessica Molaskey in a powerful supporting performance) and sorta loopy reader Mona Bland (off-beat and memorable Mylinda Hull) also smell a rat. Eventually, Ethan’s features lead to big trouble for the mag.
Sherman’s book seems to be making the point that sloppy reporting and dazzle over substance are destroying journalistic integrity and by extension all of American culture. But Sherman offers little insight into Ethan’s pathology or his background, other that he’s from New Jersey and has a brother. Sherman does write tangy, rapid dialogue, and Brown’s songs are zestful and neatly staged by Prince. But the central message is still somewhat obscure. Ethan’s climactic breakdown after his deception is revealed further confuses matters, as he lumps his fantasies in with major real events.
Then in an admittedly effective coup de theater (no spoilers), Prince, Brown, and Sherman appear to indicting all media for mendacity. Also, there are extraneous numbers such a sojourn to Israel for Ethan which feels inserted into the action solely to give Brown an opportunity to add some Middle-Eastern-flavored music and to give Ethan an excuse to delay the wrath of Miles.
Bakula has a mature charisma as the veteran editor and Ross and Cruz have commanding vocal and acting skills. Max Crumm and Fergie Philippe have show-stopping solos as two of Ethan’s contacts. All participants deliver admirable work, but this Connector just doesn’t connect to deliver a strong, clear message.
