Broadway.com
Review: ÒWhite NoiseÓ
October 02nd, 2006
By Rob Kendt
This isnÕt my AmericaÑor is it? The dubious triumph of the new
Òcautionary musicalÓ White Noise, which charts the improbable rise of
a white supremacist pop group, is that it conjures such a seamless red-state
nightmare vision, and dresses it in such inviting pop-musical garb, that it
taints everything it touches, like a bleach stain, and gets under your skin,
whatever the color. It may be hard to watch American Idol, or for that
matter the next party political convention, in quite the same way again.
True, at bottom White Noise is little more than a
conceptual jokeÑless charitably known as a gimmickÑbut it proves to be a
remarkably potent mix of entertainment and provocation in the hands of
director/conceiver Ryan J. Davis and writer/composer Joe Drymala (with
contributions from additional songwriters). Really, if this is all just a joke,
why does the laughter stick in our throats? And at what other musical would we
think twice about applauding, though weÕre already smiling and tapping our
feet?
The scrubbed, blond-and-blue-eyed shtick of two Oregon girls, Eva
(Libby Winters) and Blanche (Molly Laurel), is based on the real Òwhite prideÓ
duo Prussian Blue, which despite having repeatedly been the subject of
prime-time TV news reports is still thankfully a fringe phenomenon. But Drymala
and Davis are after bigger game than the soul-numbing conformity of pop music,
targeting instead what they see as the newly resurgent xenophobia of cable news
anchors and other opinion shapers. Ava and Blanche perform their subtlest, most
insinuating song, DrymalaÕs ÒGood Man TryinÕ,Ó on a ranting-head talk show
(Phillip Taratula plays said head, among other secondary roles, with droll
snap). And amid the showÕs diabolically witty embedding of racist lyrics into
radio-ready ditties, two of the showÕs comic highlights hit hot buttons outside
the old-school black/white racist agenda: immigration (Rick CromÕs ÒBig FenceÓ)
and gay marriage (Glen KellyÕs ÒGod Gave Us MagicÓ). It pains me to admit it,
but in my home state of Arizona these two songs could almost be hits.
Once the group, guided by a smarmy manager (Rick Crom), reaches a
level of polarizing mainstream success, the show has nowhere to go but further
into the realm of the implausible, so Drymala sidetracks into subplot, as a cherubic
outsider, Kurt (Danny Calvert), tries to Òdrop the hateÓ and break free. I
think weÕre supposed to see a bit of ourselves in KurtÕs queasy misgivings, and
feel somehow implicated in his craven compromise with the American worship of
success and stardom, but that critique doesnÕt quite come off. Indeed, White
Noise is finally less convincing as a portrait of what white America
would actually like to hear, at least on its iPods, than as a logical and
irresistibly rendered extrapolation of liberal worries about the countryÕs
latent authoritarian impulses, and where they would lead us if they were
unleashed. As such, White Noise could be a hit here and in other
blue-state urban centers, but itÕs an open question how its snickering
subversion would play closer to its ostensible heartland setting.
Still, the nervy alchemy of White Noise has an
undeniable kick. When, near showÕs end, the quartetÑthe frighteningly intense
Winters, the Mouseketeer-like Laurel and Calvert, and Micah Shepard, an
impassive skinhead with a disarmingly sweet voiceÑgathers to sing a chillingly
beautiful arrangement of ÒThe Star-Spangled BannerÓ amid stage smoke and blue
light, it may be the most beautifully fascist musical-theatre moment since
ÒTomorrow Belongs To Me.Ó Sing along at your own peril.
White Noise
Book, music, and lyrics by Joe Drymala (with songs by additional
composers)
Directed/Conceived by Ryan J. Davis
TGB Theatre