Reviewed by David Roberts for Theatre Reviews Limited


If ever there were a wolf in sheep's clothing, it is certainly the new musical version of the creation vs. evolution debates called "The Great Debate," now playing at the Lamb's Theater in what appears to be an Equity Showcase. And what a nasty wolf it is. But first the sheep.

"The Great Debate" promises to deal with the controversy which arose over whether creation was a divine act or a result of some "big bang" which laid the foundation for the evolutionary process. This could have been an intriguing piece of musical theatre if the creative team's promise was kept; however, there is simply no debate here at all. It is not far into the piece that the wolf beneath the sheep's disguise takes control and one wonders if one will get out of the theatre unscathed or unconverted (one couple scrambled for the exit after a number called "The God of Second Chance"). "The Great Debate" is nothing more than a conservative Christian (one would assume) fusillade against rationalism, humanism, and in some instances, decency.

Composer, lyricist and writer Mona Johnian believes her "Great Debate" to be divinely inspired, and the audience members who know her certainly believe that to be true, often singing along with the cast (yes, you can buy the songbook in the lobby) and raising their arms and hands in adoration (presumably to the one who inspired the musical).

Whether divinely inspired or not, this amateurish musical portrays Albert Einstein as a buffoon, and reduces the "debate" between those who believe in creation and those who adhere to evolutionary theory to an extended series of songs and dances that seem to have little, if anything, to do with the premise of the musical. The Book of Job is brought into the composer's arsenal and in what must be one of the most offensive moments in musical theatre history, the provenance of the horror of the holocaust is equated with the difficulties Job had when God gave Satan permission to "test" Job's faith. And what the biblical story of the Ethiopian has to do with this debate remains a total mystery and the song "O Ethiopian" marks another low in the musical theatre repertiore.

There is little reason to say more. The choreography is derivative of Fosse and others and is often performed in a tempo other than that of the taped sound track (no, there is no orchestra). There are leotards and tights and masks of lions and lambs and projections on dancers' bodies and props of elephants and monkeys and some of the worst wigs ever woven. Some of the singing is all right, but why the actors would want to sing the songs is problematic.

All theatre is purposive. The purpose of "The Great Debate" is elusive. More propaganda than purpose is found in the writing and in the lyrics and this piece belongs, more properly, in the church basement and not on a New York City Stage. In an effort to give everyone involved a "second chance," the members of the creative team and the cast will not be listed with this review.


 

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