BROADWAY SNAP-SHOT
by Russell Bouthiller

Dateline: 30 October 2002

MOVIN' OUT

With hits that include "The Piano Man," "Big Shot," and "Uptown Girl," the songs of Billy Joel have flown through the pop culture bloodstream for more than a generation. He has earned just about every honor a musician could hope for, from the Grammy Legend Award to a place in the Rock & Roll Hall of Fame. In a word: icon.

The innovative choreographer and director Twyla Tharp has won three Emmy Awards for bringing dance into the living rooms of millions of Americans. Her work has been showcased at the Paris Opera Ballet, the Royal Ballet and the American Ballet Theatre. She brought modern dance to Broadway in WHEN WE WERE VERY YOUNG in 1980 and staged the production of SINGIN' IN THE RAIN in 1985. And in the films of director Milos Forman's, AMADEUS and HAIR, her distinctive style reached millions.

These two dynamic figures have now joined forces for the energetic production, MOVIN' OUT, a show that defies simple classification. Like MAMMA MIA, MOVIN' OUT takes the popular--though otherwise disparate--hits of an artist (or group) and connects them through narrative. Like CONTACT, the narrative is expressed in dance. And, like a rock concert, a rousing orchestra bangs out familiar favorites, live and onstage.

MOVIN' OUT follows the lives of a group of youngsters from Long Island who begin their adult lives in the Vietnam era and come to terms with their tumultuous wartime experiences in the succeeding years. Sweethearts Eddie (John Selya) and Brenda (Elizabeth Parkinson) break off their high school romance while James (Benjamin G. Bowman) and Judy (Ashley Tuttle) seem to have found true love. Another member of the group, Tony (Keith Roberts), picks up with Brenda shortly before all of the boys head off for war in Southeast Asia.

James loses his life on the battlefield, leaving Judy shattered. Tony and Eddie return home with feelings of loss and alienation. Tony and Brenda's relationship becomes more and more complicated while Eddie slips into narcotic abuse. In a drug laced fantasy Eddie follows the image of Judy which steers him in the right direction and he soon finds solace. Meanwhile, Tony and Brenda renew their love for each other.

The story in MOVIN' OUT is not necessarily spelled out with crisp narrative delineation, so

failing to read the plot synopsis in the program may leave one at a bit of loss trying to follow what is going on. In fact, it takes a song or two before you really get a feel for the story. Just think of The Deerhunter as a musical, and you pretty much get the picture.

The strong-point of the show is the dancing and Tharp delivers in abundance. Her staging and choreography are masterfully executed and beautiful to behold. She creates a rock ballet that combines the fiber of classical traditions with the sense of angst expressed in modern movement. MOVIN' OUT is an ambitious endeavor and is consistently daring, even when it occasionally meanders.

The dance company is nothing short of breath-taking. American Ballet Theatre veteran Selya makes a stunning Broadway debut. He soars with astonishing grace and arresting agility. Roberts brings a nimble softness to Tony. Tuttle is as elegant as falling rose petals and Parkinson. With her lashing red ringlets, she blazes from start to finish. Tony-winner Scott Wise (JEROME ROBBINS ' BROADWAY) effectively dances supporting roles and wears a second hat as assistant director and choreographer.

The legions of ardent Billy Joel fans may be disappointed to discover that they will not see the legend himself. But, everyone will delight in the electrifying young clone that takes the seat at piano and mike. Michael Cavanaugh is pitch perfect in recreating Joel's energizing style and honest passion. He nails Joel's accessible and affable "kid from the old neighborhood" quality with a sincere reverie. One gets the impression that he is more than just a fan of Billy Joel; Cavanaugh is a disciple.

MOVIN' OUT is dressed in the minimal sets of Santo Loquasto. One prominent feature, however, is also the most disconcerting. The band is on a hydraulic platform, creating two competing environments. To watch the musicians perform, which is all part of the fun, the eye must veer off the dancing below. Still, the sharp lighting designs by Donald Holder helps keep the focus. MOVIN' OUT is a daring blend of rollicking rock 'n' roll and Broadway panache.