The
ancient Biblical tale of Noah and The Flood has
just become a refreshing new musical, staged at 37 Arts (450
W 37th Street) a little theater off-Broadway. Design, direction,
performances, choreography, book, music, lyrics all come together
in “The Ark.”
Under Ray Roderick’s inspired direction,
the theater becomes the Ark, the audience itself Noah’s
animals. Even as one enters, signs indicate “Mammals” and “Reptiles,” with
jungle sounds pervading the house. Set designer Beowulf Boritt’s
two-leveled Ark interior, with dark wood, wheels, and ropes dominate
three sides of the theater, encompassing both players and audience.
Willy-nilly, this is participatory theater.
So much for setting. But when the eight players (Noah, his wife,
three sons, and their three wives) arrive singing a welcome to
the animals, a very human family story unfolds. Rigid fathers,
self-absorbed husbands, neglected wives, rebellious sons are
all on hand. It works, because a gifted team has created a tightly-knit
book, haunting lyrics, and diverting music inspired by such genres
as rock, blues, honky-tonk, gospel (music by Michael
McLean, book and lyrics by McLean and Kevin
Kelly).
Director Roderick gives clean, sharp-edged direction/choreography
to his ensemble as they scramble about, lurching to the sway
of the Ark. There are hilarious, as well as poignant, moments.
At one point, the family, tiring of a vegetarian diet, wanders
into the audience and contemplates setting up a barbecue grill.
Even in this fine ensemble, D. B. Bonds is a stand-out, bringing
a strong stage presence to his role as the cynical, rebellious
Ham. And Janeese Aisha Freeman is every bit his match as his
bride, the luscious Egyptus. Adrian Zmed (Noah) and Annie Golden
(Noah’s wife) provide a lovely, tender moment when they
sing “Hold On” (arguably the best song in a collection
of poetic pieces). Solid work also from Justin Brill as Shem,
Marie-France Arcilla as his wife Martha, Rob Sutton as Japheth
and Jacquelyn Piro as his wife Sariah.
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