Blackbeard, "a new musical", floats but barely sets sail at its "Pre-Broadway Event"

Book, Music and Lyrics by Rob Gardner. Directed by Cambrian James. Spire Music production, Herberger Theater Center, Phoenix, Arizona. September 5-27, 2008


Although Spire Music’s, Blackbeard, a new musical, at the Herberger Theater Center carries an arsenal of catchy pirate-themed music, a talented supporting cast boasting vocal canons and a mesmerizing production design, it’s lack of a decipherable directorial vision, a truthful performance by its leading character and clarity in its structure and goal, leave some audiences abandoning ship.

When Blackbeard (Tyler Maxson) leaves on a final voyage against his true love Mary’s (Linsey Maxson) wishes and against his first mate’s, Mr. Hands (Mark Hackmann), warnings of bad luck (bringing a slew of women on board), his crew falls ill, forcing the captain to hijack a boat full of wealthy travelers—among them Anne (Kaitlynn Kleinman) the fiancée of Lt. Robert Maynard (Jordan Bluth). Blackbeard then blockades Charleston Harbor, demanding from Charleston’s Governor, (Mark Kleinman) a chest full of medicine as ransom for his prisoners. With the governor refusing to pay and Maynard turning vigilante, Blackbeard’s handle of his crew, the prisoners and of his Mary, slowly declines, driving him to re-examine his future as a sea tyrant.

Rob Gardner’s music and lyrics fuel the potential of the story and coupled with a few actors’ operatic prowess, the melodic mélange of the comedic and tragic elements, at times, effortlessly echoes with Gardner’s orchestration. However, especially in the hour and twenty-minute-long first act, melodrama creeps into the redundant musical numbers dropping the anchor on the storytelling’s pace. Too often, Gardner’s gorgeous songs between Blackbeard (Tyler Maxson) and Mary (Linsey Maxson) do little in pushing the story forward rather regurgitating already established conflicts—the same predicament is found in Anne (Kaitlynn Kleinman) and Lt. Robert Maynard’s (Jordan Bluth) relationship. With songs like “Bad Boys”, “The Ballad of Stede Bonnet” and “Do you want to be a Pirate?”, Gardner succeeds in writing magical music that propels the action forward but only when he mirrors this success in determining which slower, empathic songs are necessary to the plot, will Gardner have an affluent armada of music, lyrics and book.

Dane Burk’s seismic scenic design and Jeff Davis’ colorful lighting design couple together to create a chameleon playground for Cambrian James’ direction. Davis’ eclectic color palettes morph Burk’s rustic piratical palace. Regrettably the collaborative design suffers with James’ presentational blocking, lack of meaningful choreography and absence of significant character tableaux. Seemingly, Blackbeard falls in the opera genre (most of the dialogue is sung and often directed strictly to the audience), nevertheless certain key moments may have been fruitful should the emotional connection and conflict of the character been kept on stage.

With marvelous majestic voices and a commitment to detailed character work, Jere Van Patten’s Major Stede Bonnet and Alaina Beauloye’s Georgette rescue Tyler Maxson’s damaged Blackbeard that too often relies on a jarring raspy grunt to channel emotional confliction. Jordan Bluth’s (Lt. Robert Maynard) booming voice fills the house with Gardner’s score but only his vocal domination seizes audience appreciation.

With aspirations to find a home in New York City, Spire Music is slating their run at the Herberger as a “pre-Broadway event”. The fundamentals that would help this ship set sail are certainly finding their sea-legs with some Phoenix audiences but until Blackbeard corrects some of its current theatrical malaises, it may want to wait for its maiden voyage to the Broadway harbor.

Pasha Yamotahari
The Shaw Theatre Report