"The Civil War"
by Frank Wildhorn, Gregory Boyd, Jack Murphy
At the St. James Theatre


Reviewed by David Roberts for Theatre Reviews Limited

Frank Wildhorn's "The Civil War" Is The Miraculous Canvas of America's Soul.

"Civil War:From the show's first gorgeous portrait, there is evidence of reason and purpose in Frank Wildhorn's "The Civil War". There is a never a time one does not care about what is going on in the lives of those on stage and one senses immediately that what happened to America in this war which claimed the lives of some 620,000 persons is something that mattered then and will never stop mattering. Indeed, the horrifying events in Littleton, Colorado underscore the truth that the issues that were fought in the Civil War continue to be fought today. To have achieved this is, I believe, a significant feat and Mr. Wildhorn and the outstanding cast and creative team of this project are to be commended. Perhaps at no other time in his history, America needs a musical that not only emerges from its collective soul but touches that same soul in a significant way, the way "The Civil War" caresses, stirs, and emboldens that still aching soul.

"The Civil War's" some twenty-six songs embrace the spirit of the Civil War from its beginnings at Fort Sumpter until its conclusion, focusing on the issues of the unity of the nation, the abolition of slavery (the most significant purpose of this conflict), the impact the war had on individuals and families, the economic aspects of the war, and the war's more global, spiritual aspect.

And it is the strength of these songs, their powerful lyrics and their glorious music, that gives "The Civil War" its incredible character. Not sets. Not a book. Songs. Some of the best I've heard on Broadway sung by some of the best voices I've ever heard. If you can listen to these songs and remain unmoved, there is literally nothing that will ever move you. But if you allow yourself to be moved, you will be amazed, horrified, touched in places of joy, hope, sadness, and pain which haven't been touched in quite the same way in a very long time. And, doubtless, you will cry.

Because this musical is so consistently good, it is difficult to single out songs or cast members (this is a true ensemble cast in every way), but I want to highlight just a few of the show's outstanding musical numbers.

"By the Sword" and "Sons of Dixie" are songs of young recruits, naive about the intricacies and horrors of war. The boys of each side expect a quick victory. The sons of Dixie look forward to medals and parades and the admiration of women ("make the ladies swoon"). The war was on their soil, after all. How could they possibly lose? Besides, as both sides sing with passion, "With God on our side, let truth be our guide and let's march on to victory."

"Tell My Father," sung by Private Sam Taylor (Matt Bogart) is an incredible song, staged with passion and dignity by director Jerry Zaks. Two brothers, fighting on opposite sides, on the same battlefield. One lives. One dies. And the one who dies sings to his brother of loyalty and faith and love and honor. This song is the perfect example of how powerful "The Civil War" can be. One does not need to know anything about Sam or Nathaniel Taylor to appreciate the depth of their experience or the love they have for their country, their future, their father.

As the Civil War progressed, everyone involved began to understand that the issues of the war were more complex than originally thought. Frederick Douglass (Keith Byron Kirk) and the Abolitionists, and ultimately President Abraham Lincoln, knew that at the heart of this conflict was the issue of slavery and peace with justice. All of the songs which deal with the issue of slavery are powerful: "Freedom's Child" (Keith Byron Kirk), "The Peculiar Institution," "If Prayin' Were Horses" (Michel Bell and Cheryl Freeman), "Father, How Long?" (Michel Bell), "Someday" (Capathia Jenkins and Cheryl Freeman), and "River Jordan" (Lawrence Clayton). It is in the strength of these songs and the tableaus that Jerry Zaks creates that the audience comes to understand the horror of the institution of slavery.

In "Greenback" the audience becomes sickened by the activities of Autolycus Fell (Leo Burmester) and all that his character represents. There is always money to be made in war. Fell and his sidekicks Mabel and Violet (Beth Leavel and Hope Harris) know that "wherever there's the smell of horse manure and blood flies, war is not far behind." Fell preys on the sexual needs of the soldiers, and later on their need to "dull the pain" and he manages to take money from the soldiers of both sides in their living and in their dying. Fell will even sell information gleaned from the Union Army to the Confederate Army. Mabel and Violet might be sex workers. Autolycus Fell is the whoremonger from hell.

Other songs that hit the mark are "Missing You" which shows Jerry Zaks at his best in his creative and innovative use of space and time. Sarah McEwen (Irene Molloy) sings to her Bill (Gilles Chiasson) about her feelings of love and loss. The two actors are not only on stage at same time but near one another as one sings to the other across the expanse of space and time; "Judgement Day" in which the two captains (Michael Lanning and Gene Miller) ask: are we doing the right thing? (issues of ambivalence and conscience); and Clayton Toler's song "Father, How Long?" which is nothing short of brilliant!

Frank Wildhorn manages to bring into focus all the passion of a war which tore at the heart of a nation, using a rich tapestry of musical styles. And he manages to share with the audience the deep faith and the deep hope of the people of this nation as they struggled through a war which confounded and confused them as much at it inspired and empowered them. The Civil War was for them the last best hope of humankind. Those from the North and those from the South knew that when they emerged from this war they would not be the same, nothing would ever be the same ("Last Waltz For Dixie"). Their one hope was that whatever they did would be seen as having been done for "The Glory" of a nation they deeply loved and that, somehow, somewhere they would be reunited with those men and women who died who, they hoped beyond hope, were "lying in a field of angels, waiting for [them]."

"The Civil War" is a must see because it truly is "our story."

Reviewed on Sunday, April 18 ,1999 (Opened on Thursday, April 22, 1999)

"The Civil War"

By Frank Wildhorn, Gregory Boyd, and Jack Murphy. Music by Frank Wildhorn. Directed by Jerry Zaks. Musical Staging by Luis Perez. Scenery by Douglas W. Scmidt; costumes by William Ivey Long; lighting by Paul Gallo; sound by Karl Scharnberg; musical supervision by Jason Howland; musical director, Jeff Lams; vocal director, Dave Clemmons; music coordinator, John Miller; production manager, Peter Fulbright; production supervisor, Bonnie Panson; marketing and press representative, Norman Zagier; historical consultant, Prof. Eric Foner. Presented by Pierre Cossette, PACE Theatrical Group/SFX Entertainment and Bomurwil Productions, Kathleen Raitt, Jujamcyn Theatres at the St. James Theatre, 246 West 44th Street between Broadway and Eighth Avenue. Performances: Tuesday through Saturday evenings at 8:00 p.m., with matinees on Wednesday and Saturdays at 2:00 p.m. and Sundays at 3:00 p.m. Tickets for all performances range in price from $20.00 to $75.00 and may be obtained by calling TeleCharge at 212-239-6200 or by clicking on the Purchase Tickets button above. Theatregoers may visit "The Civil War" online at http://www.CivilWarBroadway.com.

STARRING: Michel Bell (Clayton Toler), Matt Bogart (Private Sam Taylor), Leo Burmester (Autolycus Fell), Gilles Chiasson (Corporal William McEwen), Lawrence Clayton (Benjamin Reynolds), Dave Clemmons (Sergeant Virgil Franklin/Auctioneer's Assistant), Mike Eldred (Corporal John Beauregard), David Michael Felty (Swing/Pit Singer), Kristine Fraelich (Understudy), Cheryl Freeman (Bessie Toler), Anthony Galde (Private Darius Barksdale/Dance Captain), Hope Harris (Violet/Nurse/Pit Singer), Capathia Jenkins (Harriet Jackson), Keith Byron Kirk (Frederick Douglass), Michael Lannng (Captain Emmett Lochran), Beth Leavel (Mabel/Mrs. Bixby), David M. Lutken (Corporal Henry Stewart/Voice of President Lincoln), Monique Midgette (Swing/Pit Singer), Gene Miller (Captain Billy Pierce), Irene Molloy (Sarah McEwen), Wayne Pretlow (Exter Thomas), Jim Price (Private Cyrus Stevens), Chris Roberts (Swing), Raun Ruffin (Swing/Pit Singer), John Sawyer (Private Nathaniel Taylor), Ron Sharpe (Private Conrad Bock), Bart Shatto (Private Elmore Hotchkiss), Rod Weber (Sergeant Patrick Anderson), and Cassandra White (Liza Hughes).

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