The temptation to come up with disastrous voyage metaphors when evaluating Swept Away, the new musical at the Longacre after runs at Berkeley Rep and Arena Stage, is great. The folk-rock tuner employing the music of The Avett Brothers mainly from their album Mignonette, even at an relatively short, intermissionless 90 minutes, is a difficult slog. The cast is passionate and director Michael Mayer does his best to enliven the static story, largely with the aide of Rachel Hauck’s impressively gargantuan set and Kevin Adams’ thrill-ride lighting, but John Logan’s book fails to develop beyond melodramatic malarkey about redemption and brotherly love and the show sinks without a trace.
Wayne Duvall, John Gallagher, Jr., Stark Sands
and Adrain Blake Enscoe in
Swept Away.
Credit: Emilio Madrid
The premise isn’t exactly promising. A patient in a 19th century tuberculosis ward is haunted by three maritime ghosts (they sway in unison to suggest the pitching of a ship). They demand he tell their story to his fellow indigents (the audience) and his gruesome part in it. The rest of the show is a flashback to an ill-fated whaling sojourn which ends in shipwreck and tragedy. None of the four protagonists are given names and aren’t fully fleshed out beyond a few cliched traits. The Mate (John Gallagher, Jr.) is the patient of the prologue and we eventually learn he’s a scurvy sort. Big Brother (Stark Sands) is a pious goody-goody determined to bring his adventure-hungry Little Brother (Adrian Blake Enscoe) home to the farm, but gets caught on board. The Captain (Wayne Duvall) grumbles about serving on a broken-down vessel in a dying industry.
In the first half of the show, not much happens expect the crew of 12 stomps around Hauck’s detailed shipboard, singing of hard work and loose women, performing David Neuman’s Carousel-inspired choreography. They’re all manly men, you see. About 40 minutes in, the ship is scuttled in a massive storm (cue the wind machine), Hauck’s set performs a miraculous transformation, and we are adrift with the four main characters in a lifeboat. The chorus have all drowned, but they return briefly as back-up for one number.
It’s possible to create vital drama in such a confined space. Look at the film and stage versions of Life of Pi, or Alfred Hitchcock’s classic Lifeboat. But the admittedly infectious songs by the Avett Brothers tend to be repetitious. An emotional point is made and then repeated at length. (Weirdly, the songs are listed alphabetically in the Playbill rather than in order of being sung.) Similarly, Logan’s book states a theme and then just delivers it again without much development. Mayer tries his best to provide conflict and drama, but he can’t do much beyond revolving the lifeboat.
Stark Sands and Adrian Blake Enscoe
in Swept Away.
Credit: Emilio Madrid
Gallagher provides a measure of dark spark as the tormented Mate. The highlight of the show is his catalogue of the character’s past grim occupations. While explaining his motivations for a particularly heinous act he’s contemplating committing in the lifeboat (no spoilers), the Mate lists his previous nefarious jobs from con man to overseer of slaves. Gallagher creates a haunting narrative with a few lines and fleshes out a character the author leaves incomplete. Sands and Enscoe have lovely voices and sweetly sell their solos and duets, but their sibling roles are skimpy. Duvall’s Captain is a similar cipher despite the actor’s efforts to fill in the blanks. Swept Away wants to be a dark voyage of the soul but is only a short cruise around Broadway.
At the other end of the entertainment spectrum, the revival of Elf the Musical at the Marquis has no greater goal than to provide two and half hours of jolly Yuletide cheer and succeeds with “Sparklejollytwinklejingley” joy, to quote one of Matthew Sklar and Chad Beguelin’s clever songs. Based on the 2003 film comedy starring Will Farrell, this production staged by Philip Wm. McKinley is a stripped-down, speedy version of Casey Nicholaw’s original which played Broadway in 2010 and again in 2012. Thomas Meehan and Bob Martin’s sharp book remains a giddy delight, smart enough for both kids and adults. They’ve also eliminated some of the cringeworthy elements of David Berenbaum’s original screenplay such as an awkward shower scene with Farrell and Zooey Deschanel.
Grey Henson and Sean Astin
in Elf the Musical.
Credit: Evan Zimmerman for
MuprhyMade
Grey Henson, who has previously had outstanding supporting roles in Mean Girls and Shucked, is perfectly cast as Buddy, a taller-than-average human raised as one of Santa’s diminutive helpers after stowing away in the jolly old man’s toy sack. The central joke here is Buddy acts like a naive child in an adult’s body once he treks to NYC to find his dad Walter Hobbs, a workaholic publishing exec (appropriately grumpy Michael Hayden). Henson skillfully conveys Buddy’s bubbly enthusiasm and innocent love of fun without tipping over into cloying overkill. He underplays Buddy’s cluelessness and avoids excess treacle. It’s entirely believable he can charm a pair of hardened Gotham cops or take over the decorating duties of cynical Macy’s employees. Henson also puts over his musical numbers with dash and splash.
Kayla Davion makes the most of her one number as Buddy’s cynical love interest. Sean Astin delights as a merry and warm-hearted Santa as well as imparting blustering brutality as Walter’s brutally market-minded boss. Jennifer Sanchez is vivid and edgy as Hobbs’ harried secretary with a harsh, hilarious Noo Yawk accent, adding volts of comic electricity to her every scene. Ashley Brown mixes starch and spice to Hobbs’ wife and Kai Edgar is energetic as his son, Buddy’s half-brother. 
Grey Henson, Kayla Davion and the cast
of Elf the Musical.
Credit: Evan Zimmerman for MurphyMade
Tim Goodchild’s sets augmented by Ian William Galloway and Mesmer Studio’s video designs create the right holiday atmosphere for this family favorite. Bring the kids and your inner child.
Swept Away: Opened Nov. 19 for an open run. Longacre Theater, 220 W. 48th St., NYC. Running time: 90 mins. with no intermission. telecharge.com.
Elf the Musical: Nov. 17—Jan. 4, 2025. Marquis Theater, 210 W. 46th St., NYC. Running time: two hours and 20 mins. including intermission. ticketmaster.com.
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