Review-10 Million Miles (7.5.07)

10 Million Miles (Thursday, 7.5.07)
Linda Gross Theatre (Atlantic Theatre Company), New York, NY

By: Patty Griffin (music, lyrics), Keith Bunin (book)
Starring: Matthew Morrison (Duane), Irene Molloy (Molly), Mare Winningham (The Women), Skipp Sudduth (The Men)

Let's start by saying this is no Spring Awakening.

This is not to say that the Atlantic Theatre has tried to say it is, and the show itself couldn't be further away from the concept of that show. But many reviewers have talked about Spring Awakening, since that was last summer's big hit at the Atlantic, which then transferred to Broadway and won a gaggle of Tony Awards. It's rather unfair, it would seem, to try and compare 10 Million Miles to that show.

Which is not to say that 10 Million Miles is not an enjoyable show. In fact, I found it quite entertaining within its confines.

Okay, so the story line is not particularly strong, and like most jukebox musicals, the show suffers now and then because individual songs (or parts of songs) don't quite fit where they've been placed. But this is not a show that is supposed to be plot-heavy, and I have to say, it captures the mood and essence of Patty Griffin's music perfectly. It is introspective without being overly dramatic, accepting of defeat and drudgery (country misery) in an almost matter-of-fact way. And I have to say, I thoroughly enjoyed listening to these renditions of Ms. Griffin's songs. I found the show nothing short of refreshing, and thought it achieved theatricality without the conventional melodrama that musical theatre tends to have.

The four-member cast is impressive all around. Mare Winningham is absolutely brilliant. She switches easily from character to character seamlessly. She is a surprisingly talented singer, wrapping her voice around both note and character. What is particularly impressive is how quickly she manages to capture character within minutes. I rather felt like I was watching at least three or four different actresses play her parts. She is that good. Skipp Sudduth also does some nice work, not quite as chameleon-like as Winningham, but still engaging, especially as Duane’s army buddy.

As for the two leads, it would be hard to imagine a better coupling than Matthew Morrison and Irene Molloy. Morrison is thoroughly engaging, humorous throughout in both manner and movement, but also showing glimpses of character beneath. He is sexy and magnetic at times, infuriating and off-putting at others, and captured the Duane character brilliantly. Irene Molloy was much cooler, and at first is a bit off-putting. But over the course of the show, she really builds. More critically, her kind of complacency -- even just shrugging off Duane's completely unacceptable behavior toward her -- was surprisingly touching, and was probably the only way to make what happens next believable. When she breaks down momentarily with her Aunt, it is a very touching moment. So much of these characters is understated. It fit in perfectly with the country-inspired style of the music.

Reviewers have noted a lack of chemistry between the Morrison and Molloy, but I disagree. I think there was an intentional building of a wall between the two, representing their ambivalence about their relationship. Their entire relationship is supposed to be filled with doubt. Molloy's constant pulling away and reluctance to be intimate, juxtaposed with the occasional heavy kiss or display of affection, was entirely believable.

The show has a number of obvious flaws, but I found it quite compelling nonetheless. I have to say I found it far more enjoyable than a number of musicals on Broadway this past season. Whatever its faults, it is nice to see this type of work produced on stage. We can only hope that the Atlantic and other companies will continue to present such works.