‘Paradise Square,’ a Breathtaking, Exquisite, Mindblowing, American Musical
First there was Lin Manuel Miranda and Alex Lacamoire’s Hamilton which codified our founding fathers through a current lens and brought them into living reality with a new understanding of the birth of our nation. Now, there is the musical Paradise Square which brings to vivid life the embodiment of the American Dream during the Civil War, 1863, after President Lincoln instituted the Emancipation Proclamation freeing slaves.
The phenomenal, complex musical is nothing short of a heart-rending emotional shakedown for feeling Americans at this precarious time in our history. Currently, it runs at the Barrymore Theater creating buzz and furor through word of mouth. With Book by Christina Anderson, Craig Lucas and Larry Kirwan (conceived by Kirwan with additional music inspired by the songs of Stephen Foster), music by Jason Howland and lyrics by Nalthan Tysen & Masi Asare, the production’s success is a collaborative effort, and that is a testament to the individuals whose creativity and flexibility brought the spectacular, dramatic elements together coherently with symbolic, thematic power.
With the actors, Alex Sanchez’s Musical Staging, Bill T. Jones genius choreography and the enlightened and anointed direction of Moises Kaufman, the demonstrated will and determination to make this production leap into the firmament cannot be easily dismissed or inconveniently dispatched for whatever reason. (reference Jesse Green of the New York Times)
The setting of this thematically current musical takes place in a slum of cast offs and immigrants who are making the American experiment their own and bringing equanimity to New York City like never before. On a patch of ground in the Five Points that is home to saloon Paradise Square, proprietor Nelly O’Brien (the incredible Joaquina Kalukango who champions the character and all she symbolizes), has created her own version of Eden with her Irish American husband Willie O’Brien (the superb Matt Bogart). There, all are worthy and respected.
Nelly exemplifies the goodness and hope of our American glory and opportunity through hard work, faith and community. Born in the saloon from the oppressed, her father a slave who escaped to the North via the underground railroad, her mixed race marriage is uniquely blessed. It is just like that of her sister-in-law Annie O’Brien Lewis (the superb Chilina Kennedy), married to Reverend Samuel Jacob Lewis (the equally superb Nathaniel Stampley), a Quaker and underground railroad stationmaster. Both couples have prospered, are decent and shed truly Christian light and love on all they meet.
Nelly, the principals and company present life in “Paradise Square,” in the opening song. This is the seminal moment; book writers establish the overarching theme, the hope of America, an Edenic place where all races and creeds get along without division or rancor.
“We are free we love who we want to love with no apology. If you landed in this square then you dared to risk it all, at the bottom of the ladder, there’s nowhere left to fall,” Nelly sings as the patrons echo her and dance. The opening moments clarify what is at stake for Nelly and all who pass through the doors of the saloon. It is a safe haven, where in other areas of the city, the wealthy uptown, for example, these “low class” immigrant whites, and blacks are unwanted and unwelcome. It’s a clear economic divide which grows more stringent as the war’s ferocity intensifies and money becomes the way in to safety and the wall that directs the Irish and other immigrants to the Civil War’s front lines; one more hurdle to overcome after surviving cataclysms and impoverishment in their home countries.
Of course, the symbolic reference is not lost and we anticipate that Eden achieved is not Eden sustained, though Nelly has managed to effect her safe place during the first three years of the war. What keeps her energized is her spirit of hope and her dream which she intends to promote throughout the war until her husband, Captain O’Brien of the 69th regiment of fighting Irish, returns once the Union army has won its righteous cause. Nelly and Willie’s touching song and flashback to their first meeting reveals that they are color blind (“You Have Had My Heart”), and move beyond race and ethnicity to the loving, Edenic ideal which uplifts spirit over flesh and lives by faith rather than sight.
At the top of the production Nelly shows a black and white projection of the modern Five Points and the place where her saloon used to be, as she merges the present with the past and suggests she is relating her story, a story that won’t be found in history books. It is a “story on our own terms,” that exemplifies unity in a community of races and religions bounded by love, concern and financial equality as all struggle to make ends meet, and with each other’s help, get through the tribulations of the Civil War’s impact on their lives.
The exceptional opening song and dance number resolves in a send off of Willie O’Brien and ‘Lucky Mike Quinlan’ (Kevin Dennis) to the battlefield. Both rely on an inner reservoir of faith and Irish pluck, knowing the prayers of the Reverend and all in Paradise Square go before them. The vibrant titular number is uplifting and beautiful as it highlights the American experiment which British royals doomed to failure and Benjamin Franklin ironically stated-our government is “a republic if you can keep it.”
Though the republic has been divided in a Civil War, folks like those who come to Nelly’s saloon believe in nation’s sanctity and are keeping the dream alive, if the South has abandoned it. Indeed, as the book writers suggest, the immigrants and those of passion and heart will hold the dream in their hearts and attempt to manifest its reality because freedom, respect and equanimity is worth dying for. With irony the book’s writers reveal this is something the wealthy do not believe because they don’t have to. Their world rejects the values and ideals of those who people Paradise Square. Without principles worth dying for, the hearts of the Uptowners are filled with greed for power and money. These are the passions that drive the rich, symbolized in the scenes with Party Boss and political strategist Frederic Tiggens (the excellent and talented John Dossett).
Complications develop when Annie’s nephew Owen (the wonderfully talented A.J. Shively), travels from Ireland at the same time that Washington Henry (the wonderfully talented Sidney DuPont), escapes with Angelina Baker (Gabrielle McClinton). Traveling on the underground railroad from Tennessee, Henry arrives in New York City without his love, whom he waits for, braving the dangers of capture. Owen and Henry joined by Annie and the Reverend, a stationmaster on the underground railroad who receives Henry, all sing (“I’m Coming”). The young men, like hundreds before them, seek freedom and prosperity believing in the opportunities afforded by the shining city.
Reverend Samuel alerts Annie that Henry escaped from border state Tennessee which is not covered in the Emancipation Proclamation. Thus, when Henry says he can’t go to Canada, but must wait for Angelina Baker, the Reverend fears for all of them. Nevertheless, guided by faith and Nelly’s extension of grace to Washington Henry, their community stands together and Owen and Henry bunk congenially in a tiny room above Paradise Square saloon.
Additionally, stranger Milton Moore (Jacob Fishel), arrives in their society to beg Nelly for a job. Moore, an excellent piano player with a drinking problem, appears legitimate, so Nelly makes a bargain with him and arranges for Owen, Henry and Moore to create dance and song entertainments to earn their keep. The dancing and singing to a cool multi-ethnic version of “Camptown Races” effected by Henry and Owen who are friendly competitors at this juncture, show the prodigious singing and dancing talents of Shively and Dupont. Guided by Bill T. Jones’ brilliant, energetic and enlightened choreography, the dancing in this production is thematic and symbolic, with unique stylized flourishes that shine a light on the exceptional talents of the principals and the ensemble.
Jones showcases the dances with ethnic cultural elements: for Shively and his group-Irish step dancing; for DuPont-Juba African American dancing that evolved from plantation life. Jones’ wondrous evocations are present throughout. When Henry sings “Angelina Baker” we revert to the plantation where both met. Profoundly rendered through Jones choreography and musical staging (Alex Sanchez), the ensembles’ stylized movements evoke the field slaves soul burdened and bowed, as two plantation overseers tap dance the repetitive torment and the beats of slavery’s oppression and pain. Just incredible!
Uptown Party Boss Frederic Tiggens (the excellent John Dossett) is the villainous snake, whose intent is to divide voters, secure political power and keep wages low by targeting the haven of equanimity, Paradise Square. As a disrupter, he focuses on a “divide and conquer” strategy. Stoking division when the opportunity arises, he is hell bent on destroying Nelly’s prosperous Eden which threatens his political power block. Thus, he foments resentment between the Irish and the blacks when he discovers that the Reverend doesn’t fire a worker to give a job to ‘Lucky Mike,’ a war amputee abandoned by the government he fought for. (“Bright Lookout,” “Tomorrow’s Never Guaranteed.”).
Enraged at the injustice of not being hired by Reverend Samuel who can’t do what he wants or he will be fired himself, ‘Lucky Mike’ becomes the pawn of Tiggens, who exploits his anger instead of helping him. Expressing the plight of many returning vets then and now, Mike’s anger grows into a raging fire with no outlet until it finally explodes in violence. Tiggens’ trouble-making continues with his connections serving financial writs on Nelly and Paradise Square that must be paid off. When she confers with family about raising money, Owen contributes his cultural grace, suggesting a dance festival competition like they had in Ireland. With the festival Nelly will raise enough to pay off the fines. Once again, Nelly and family resilience and hope shine through the darkness of Tiggens’ political machinations to overwhelm them.
Meanwhile, the Reverend is informed by his Quaker friends that Henry has killed his plantation master in Tennessee and is wanted for murder. The Reverend tells Annie who insists she will accompany him and Henry to the next station on the railroad. The song “Gentle Annie” is a humorous revelation of their marriage: Annie’s feisty character tempered by Samuel’s peaceful nature, their shared values and the closeness of their relationship. Kennedy and Stampley give authentic, spot-on performances that solidify one more link in the ineffable chain of love that helps make Paradise Square (the saloon and the production) a place of unity and grace.
A strength of this musical is that the dramatic tension increases and doesn’t let up for a minute. The arc of development in conflicts and intricate, complex themes shows Nelly’s Paradise Square, like Lincoln’s Union strained and stressed. As Tiggens tightens the financial noose on Nelly’s Eden, the announcement of the War Draft threatens the immigrants. Men between the ages of 25-45 must serve, unless they pay $300 dollars to exempt themselves. Lincoln’s conscription is a desperate attempt to revitalize the fight; the Union is on the verge of collapse and the American experiment is in grave jeopardy. Nelly’s dream and Lincoln’s hope of a democratic union run on parallel tracks along with the underground railroad.
For the blacks, the idea that people had inalienable rights and could live together with respect, dignity .and equanimity as a community, the idea that people themselves had the power to sustain such a republic, was keenly felt. Blacks wanted desperately to fight against the Southern oppressors, but were forbidden. (“I’d Be a Soldier”). The Irish, like Owen and the other immigrants, were looking for a better life not war (“Why Should I Die in Springtime?”), but they are ground down by their poverty and question the efficacy of dying for a cause they didn’t create and can’t afford to get out of.
When Owen and the ensemble of Irishmen/immigrants and Henry and the ensemble of blacks sing these numbers, the power of the lyrical music drives home the differences. Both groups embrace the American ideal but are being denied achieving it in reality. As the anger of ‘Lucky Mike’ gains advocacy, it fuels fear in Owen because, for him, the Draft is unjust; he doesn’t have the money. Nelly, for the first time tells ‘Lucky Mike’ to leave her bar as he tries to rally protestors for his (Tiggens propagandized) cause.
As Nelly inspires and encourages her patrons telling them they must not “let the draft break us, that’s what those Uptown bastards want,” an Irishman comes with news that does bow her, Captain Willie O’Brien’s death. But for the Reverend and Annie (“Prayer”), and Nelly’s moral imperative to maintain the saloon’s mission, Nelly would break. As she attempts to gain comfort and inner resolve, the Reverend and Annie confront Henry about murdering his master. In the incredible “Angelina Baker” sung by DuPont with the dancers evoking the Tennessee plantation terrors, we understand his justification for killing.
By the end of Act I, Nelly, Annie, the Reverend, Owen, Henry and the patrons stand on a precipice as the war and malevolent forces threaten to overcome them. Nelly sings, “I keep holding on to hope for a world just out of view, but that hope I have comes at a cost and the cost comes due.” But it is in the song’s refrain that Joaquina Kalukango sings for the ages. Nelly prays with grace and dignity: “Heaven Save Our Home.” Kalukango’s Nelly becomes the intercessor who has made the ultimate sacrifice. All those she loves in Paradise Square are in jeopardy. Her Eden hangs by a spider’s web. As we identify with her prayer, Kalukango’s Nelly stands in the gap for all who are threatened by war and oppression, or unseen forces that would trammel down the sanctity of life. In her portrayal, as she attempts to touch the heart of God, she enthralls our humanity. It is what live theater is all about.
In the transition to Act II, book writers take us to wealthy Uptown New York City. The set changes from the dark saloon, three level platforms, box cages and hard scrabble lines and angles to light, airy, plush furniture in a luxurious drawing room where the wealthy Mr. Tiggens, Amelia Tiggens and Uptown women are being entertained by Milton Moore. Moore presents new versions of songs he culturally appropriated from those he’s heard sung by immigrants and blacks in the Five Points. The scene brings heartbreak at the revelation that “Milton Moore” has been the cover for Stephen Foster (Jacob Fishel).
In a fascinating and ingenious twist in the arc of development, Foster, revitalized by his time in Paradise Square, exploits its greatness, democracy and vibrancy. He brags to Tiggens about his inspired time and unwittingly reveals what Nelly and the others plan. The scene is another dynamo that spills over into chaos when Foster returns to Paradise Square and confronts Nelly, who is arranging to financially save her saloon, Owen and Henry with the dance festival. Foster’s betrayal is a stinging blow. Though he apologizes and attempts to salve the wound by telling Nelly she encouraged his reformation, the danger he reigns down on them is unforgivable. Too late, she ejects him; but the damage has been done. All that is left is to hope that the dance festival brings in enough money to save her saloon and Owen and Henry.
The dance comes off in, another incredible scene with Jones’ amazing choreography front and center as Shively’s Owens and DuPont’s Henry compete, this time not so congenially. There is a winner. You’ll just have to see the show to find out. But the competition doesn’t have the desired effect. Subsequently, New York City undergoes its own class war as the immigrants go uptown in a rage to protest. The NYC Draft Riots, a well documented catastrophic debacle (50 buildings burned, 119 people dead) with destruction, death looting and burning lasts for three days until the US army quells the rioting. As the rioters set fire to Paradise Square, Kalukango’s Nelly confronts them and delivers a message (“Let it Burn”) that defies description in power and spiritual glory.
“Inside this little building is a rare and special lot; we somehow found each other and look what that has wrought; a place you are afraid of, a world you’ll never know; you can take it in a flash; you can burn it down to ash and then out of ash we’ll grow; if you think we’ll run away, you’ve got a lot to learn we are stronger than your fire, and I say let it burn.”
Nelly realizes her Edenic dream continues in greater power without a building to house it. Thus, she gives up the one thing she worked incredibly hard to keep with the knowledge that Paradise Square and all it symbolizes to her is within her soul forever. It is for future generations to manifest and make her Edenic dream a reality.
How the creative team and Kalukango deliver this moment is miraculous. What the show kindles in those receptive to its messages and themes heals, strengthens and affirms. It is the glory of what our country can be in the resilience of the human spirit that uplifts freedom from the boot of financial, moral, ethical oppression and evil in all its forms.
As I watched this production, I couldn’t help but align its “dangerous” democratic themes to events around the world and in our own country. Nelly’s message is the Ukrainians’s message to Vladamir Putin in his unjust war and attempt to destroy Mariupol and other Ukrainian cities with his Stalinist communist terror which cannot succeed. Similarly, I thought of the ultra extremist right wing politicos in the U.S., who would make women heel to their oppression by criminalizing abortion to the point of making it tantamount to homicide, while sanctifying, legitimizing rape. (The rapist becomes a father, bonded to the child and mother.)
The Supreme Court in attempting to overturn settled law, effects a second insurrection more damaging than that of the coup conspiracy by Donald Trump and QAnon Republicans on 6th January. When Kalukango’s Nelly sings her cries for safety and freedom, affirming both by the conclusion, she intercedes for all Americans who still believe with Lincoln in government of, by and for the people. The lrich minority are incapable of hearing such cries from the spirit. They only want to rule like despots.
The values and themes heightened in Paradise Square are truly Christian, American and democratic. The production is a vital happening during a time when political terrorist forces inside our country conspire with foreign adversaries to nullify our constitution and foundations of government based on self-evident truths in our Declaration of Independence; that all are created equal and endowed with certain inalienable rights. There is no musical on Broadway today which best represents the American spirit and ideals.
If this does not sound like something you might like, then especially go see it. For tickets and times see their website: https://www.paradisesquaremusical.com/
Posted on May 9, 2022, in Broadway's Greatest (Carole's judgment), NYC Theater Reviews and tagged Bill T. Jones, Chilina Kennedy, Christina Anderson, Craig Lucas & Larry Kirwan, Jason Howland, Joaquina Kalukango, Moises Kaufman, Nathaniel Stampley, Paradise Square, Sidney DuPont. Bookmark the permalink. Leave a comment.
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