‘Empire the Musical’ is now playing at New World Stages

‘Empire the Musical’ is now playing at New World Stages

In a city that never sleeps, it’s only fitting that its iconic Empire State Building should inspire yet another artistic endeavor. Enter “Empire the Musical,” currently playing at the New World Stages. This ambitious production, which attempts to dramatize the construction of New York City’s most famous skyscraper, teeters precariously between potential greatness and frustrating mediocrity. While its ambition is clear, its execution leaves much to be desired.

From the outset, “Empire the Musical” promises a sweeping historical saga, replete with romance, danger, and the quintessential American spirit. However, as the evening progresses, it becomes evident that this promise is undermined by a flimsy score, a problematic book, and direction that lacks coherence.

Playing fast and loose with historical facts isn’t inherently a dealbreaker for a musical. After all, theater is as much about imagination as it is about reality. However, “Empire” stumbles in its attempt to balance historical narrative with dramatic flair. The creative liberties taken by the writers could be overlooked if they served a more compelling story or if the score were stronger. Sadly, neither is the case here.

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The first act in particular struggles to find its footing. It becomes bogged down in excessive dialogue and a series of songs that do little to advance the plot or develop the characters. These numbers, which could have been cut or trimmed, contribute to a bloated runtime and sap the production of its momentum. The pacing issues are glaring, making it challenging for the audience to maintain interest as the story meanders through its exposition-heavy setup.

Despite these flaws, the cast of “Empire” showcases some wonderful voices that shine through the muddled production. Julia Louise Hosack, stepping in as Sylvie Lee at our performance, impressed with her vocal range, bringing depth and emotional stakes to the first act despite the jarring flashback sequences. Kaitlin Davidson was a breath of fresh air as “Wally,” her vibrant performance adding much-needed energy to story’s first act. The ensemble, too, deserves praise for their tight choreography and infectious enthusiasm, particularly in the upbeat number “Lookahee,” which provided a genuinely enjoyable moment during the show.

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The second act of the show finds footing, whereas much of the exposition and dialogue of the cumbersome first act finally pays dividends. Still, ultimately one should never be expected to slog through a 2 and a half-hour show for gratification. Theater of this nature should never be this imbalanced or dare I say incomplete.

Ultimately, “Empire the Musical” is a frustrating experience. It’s a production with grand aspirations but insufficient follow-through. The concept of celebrating the construction of the Empire State Building through musical theater is undeniably intriguing. This iconic skyscraper, a symbol of human achievement and perseverance, deserves a tribute that matches its grandeur. Regrettably, “Empire” does not rise to the occasion.

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The musical’s deficiencies make it difficult to engage fully with the story. Instead of being swept away by the narrative, one’s mind tends to wander. The seams of the production—much like the building’s exposed framework—are all too visible. And, in the end, the audience is left yearning not for the fictionalized version of history but for the real thing. I do applaud efforts to bring fresh material to the stage rather then yet another Jukebox adaptation, and I wholeheartedly wanted to love this musical, but it just felt incomplete. Bravo to an amazing ensemble cast who dazzle with their execution of the material, however, Empire needs a bit of a renovation before feeling like a complete show.

Tickets are on sale now. Empire the Musical runs for 12 weeks only at New World Stages, ending its run on September 22nd. New World Stages is located at 340 WEST 50TH STREET, NEW YORK, NY 10019.

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