Escape To Margaritaville Is Empty Calories But Delicious Romantic Comedy Jukebox Musical Cocktail That’s Bound For Broadway Success

                                                   

Although his quiet, humble, sun and booze-drenched beach bum persona obscures it, pop culture icon Jimmy Buffett, famous for his Hakuna Matata reminiscent ”It’s 5 O’Clock Somewhere” philosophy and steel-drum infused part country, part Carribbean music is one of the world’s biggest moguls. From his immensely popular “Margaritaville” and “Cheeseburger In Paradise” restaurants, to bestselling books and his “Landshark Lager,” to resorts in Pigeon Forge, TN, all bearing the seal of Buffett’s iconic brand, Jimmy is one Typhoon of a Tycoon. He has just expanded his Mari-Good Times empire to include a Broadway Musical, entitled “Escape To Margaritaville.”

                                     
                                 

The “Buffett Musical” as it is known in it’s social media handles, is currently playing in Chicago, the last stop on it’s pre-Broadway engagement tour before it drops anchor at the Marquis Theatre in NYC (previous home of another jukebox musical rooted in the music of a pop superstar that had an extended preview run in the Windy City --“On Your Feet!: The Story of Emilio and Gloria Estefan.”) I had the opportunity to take in a matinee at the Ford Oriental of this show coming out of San Diego’s esteemed La Jolla Playhouse, and I’m sharing some impressions of this production inspired by the music and life of the Mayor of Margaritaville, the Parrothead-In-Chief, himself.

                                                  

Certainly, the show offers an experience from beginning to end, from the moment you step into the lobby, transformed into a fantasy island unlike anything Mr. Rourke and Tattoo could have conceived, and greeted by JB music blasting through the speakers and almost eerily friendly staff all decked out in leis and bad vacation shirts. 

                                            

The lobby décor and commitment to the theme throughout the entire venue and by the personnel was inspiring and got everyone super enthused about the performance right from the jump, an enthusiasm and infectious energy that’s ensured to last right through the bows.     

After making my way through the crowd of tipsy, half traditional Broadway/half Buffett devotees just as drunk off the energy of the aesthetic as the inevitable bar offerings, I arrived at my seat really anticipating the production and found myself further entranced by the visually stunning projection of the sea onto the sheer stage façade ...

                                          

... then the lights dimmed, JB’s voice boomed over the loudspeaker in a gut-busting pre-recorded reminder to turn of all electronics, and then the show was in full-effect.            

Touching first on the actors and their performances, Broadway veteran Paul Alexander Nolan was funny in. and sang well, the not especially vocally challenging lead role of the Peter Pan man-child and lothario island troubadour, Tully.  However, he slightly overplayed the character’s cockiness and was not as endearing as he should have been. Alison Luff, another frequent treader of the boards, definitely did an expectedly decent job as Rachel, the perpetual Type-A environmental scientist who books a tropical weekend getaway to mix business with pleasure, and of course ends up falling for the Buffett-modeled hero of the story.  Eric Petersen’s interpretation of the bartender Brick, Tully’s formulaic buddy, was enjoyable - which I think that can be chalked up, in part, to the fact that I have tremendous respect for Petersen and his work as Dewey in Lloyd Webber’s “School of Rock,” and I have a penchant for the corny (one note, though, Eric – please work on your stage combat). Lisa Howard was good as Alison’s equally cliché sidekick and certainly has well-developed musical theatre pipes.  I also really liked Don Sparks’ J.D., the old pirate/former pilot who now squanders all his days at the resort’s bar, but the character felt clumsy and in the way sometimes.  (I feel there’s a lot more that can be explored and done with this persona.) For me, Rema Webb’s interpretation of Margaritaville’s Jamaican owner and operator named (what else) Marley, and Andre Ward’s portrayal of her equally Rasta lieutenant, Jamal stole the show with their great comedic timing as they spouted off some of the show’s wittiest one-liners (but they do need to put in a little more effort perfecting their accents, Mon).

                                   

Sincerely, Walter Spangler’s scenic design was one of the most impressive and exciting parts of this show, as the set was gorgeous and cleverly executed. Although it stole some conventional, tried-and-true tricks used in Broadway shows such as “Hairspray” and “Jersey Boys,” the design was one of the things this show did best, allowing for a seamless transfer between scenes that took place in different locations. It was colorful and aesthetically pleasing– honestly, you should go to the show just to see the set.

                                      

Paul Tazewell (Tony Award-winning costume designer extraordinaire, most famous for his work on “Hamilton”) did an excellent job with the wardrobe – not that the wardrobe for a production such as this presented any real challenge, but he did a bang-up job of costuming that was appropriate and conducive to the story being told and Buffett’s trademark laid-back seashore lifestyle motif.  

                                                 

            Where the choreography is concerned, what Tony-nominee Kelly Devine did with this aspect of the production was superb, especially with the “License To Chill” and “One Particular Harbor” numbers – the movement was wonderfully imagined and the ensemble was able to really flex their muscles, creative and otherwise. One great choreography choice is during the “Fins” scene where the choreography Buffett traditionally instructs the audience to do during his concerts is inserted into the flight attendant’s directions/safety demonstration. And what Devine did in conjunction with aerial effects company Flying by Foy with wires and rigs during certain parts of the production, was incredibly innovative and added to the hilarity of the particular scenes being played out.

                                                            

Considering the book and plot development, it was actually a lot better than was expected for a jukebox musical, which was a pleasant surprise. Greg Garcia (of “My Name Is Earl” and “Raising Hope”) and Mike O’Malley  (another TV veteran who in addition to creating Starz’s “Survivor’s Remorse” has written for “Shameless” and was nominated for an Emmy during his turn as Burt Hummel in the series “Glee”) did a better-than-decent job crafting a story around Buffett’s compositions, crafting a much more profound, meaningful and well-woven narrative than one would anticipate.  JB’s biggest hits (the entire “Songs You Know By Heart” album is included in the score) as well as a few original compositions just for the Broadway production have been factored into the story in a non-conventional way that allows the plot to really swim. A prime example of this is the way the Buffett standard “Volcano” is used to set up an excellent plot twist, which turns out to be one of the show’s funniest scenes. However, too often Garcia and O’Malley go for the cheap, “slapsticky” laugh and beat the same corny joke to a pulp (like, seriously, how many times are we gonna' do the bit with mispronouncing the one Latino character’s name as Jesus?).  The dirty humor and sex jokes become a little tired and simply don’t contribute anything.  I’d much rather Garcia and O’Malley continue being sexy with their wit, which they prove they can which is so much more appealing. Finally, I enjoyed the way Garcia and O’Malley worked with the “Son of a son of a sailor”, adjusting the lyrics to fit and move the plot. There are certain songs by Buffett I think this TV comedy royalty team can work with Buffett on, re-arranging or swapping out for other more fitting tunes from his extensive canon to better service and propel the plot (use the more appropriate “Growing Up But Not Older” for Tully’s introduction instead of “A Pirate Looks At Forty”, for example).

                                       

Overall, this show truly has a lot of potential and was far better than one would have imagined. There are a lot of things it does right, but there are a lot of ways in which it can grow. Director Christopher Ashley’s vision is really solid, but the show can be better with some of the suggestions I’ve laid out in this review (toning down the hokey humor just a bit, exploring some of the minor characters and their backstories a bit more, better coaching on stage fighting and accent work, etc.). As well, I get that Jimmy Buffett is a bit crude and bawdy humor is innate to him and his music, I really get it – but if some of that could be exchanged for a more sapiosexual-leaning satire, it would make this production even more respectable. I must credit the show with the very wise choice to make themselves a little more PG-13 by having the audience to sing out the most potentially offensive part of Buffett’s hit “Why Don’t We Make Love,” but, even if it undergoes vast revision before it sails off to it’s new Broadway home, I don’t think this show is one you would want to bring your kids to (this + the overabundance of alcohol flowing like lava = leave Junior with the babysitter, please).

                                           

This show is essentially everything you’d expect from a Jimmy Buffett jukebox musical-- a lot of boozy, beach-bummy “fun times down in the Caribbean Sunshine.” It’s not anything revelatory; it will not go down in history as a show that changed the face of musical theatre. But it serves it’s purpose – an excuse for slightly (or heavily) intoxicated fun (and an excuse for Buffett to hawk his brand alcohol) and an escape from our mundane, overworked Rachel-esque lives to a silly, imaginative tropical paradise full of characters who are as vibrant as the hibiscus and exotic flowers sprouting from the rich volcanic soil of the island. It will continue to go over well with the mid-life crisis, wanderlust ridden, intensely loyal Buffett fan-base, and musical theatre die-hards are going to go see it just because that’s what we do! It’s a guaranteed commercial success in the vein of “Mamma Mia!” even without adjusting a thing. But I honestly hope this musical’s transfer to Broadway brings about some changes in attitudes with the changes in latitudes, because I see the real potential of this production and how much greater it could be, defying the conventional low expectations and quality associated with jukebox musicals, with some simple tweaks.           

      In all, this musical imagination of Buffett’s iconic “Margaritaville” is technically empty calories--it’s effervescent and offers nothing truly substantial or nourishing--but empty calories are typically delicious, and this production proves no exception to that.  There is, however, so much more that can be done before it docks in New York to make it an even more well-blended, delicious cocktail of romantic comedy, Buffett’s beachy brand, and his beloved songbook. “Escape” is certainly going to be a “Great White” on the “Great White Way,” and you’re going to want to waste away in the musical theatre imagination of “Margaritaville” again and again. If you’re not able to catch this show while it’s running in Chicago through December 2^nd, try to check it out once it pulls into port at The Marquis on February 15^th.

                                         

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