Wow. Wow, wow, wow. That was the only word Nick and I could muster up after leaving the St. James. But after a few days of post-show processing, let’s see if I can do more justice than simply “wow.” Let’s start with this: “Illinoise” is not your typical musical (it’s been branded as a new kind of musical since emerging). Yes, in some sense, it is a jukebox musical. However, Sufjan Stevens is not your typical artist, so that makes his work on Broadway even more unique and fitting than previous radio artists whose work’s been smeared all over the Great White Way before. There is a fantastic, moving story at the heart of it all. But the songs don’t propel the plot forward like your usual musical; they more so heighten the overall emotion at play in each individual storyline. In fact, the songs are the only we hear coming out of any performer’s (well, only three performers) mouth as this a completely dialogue-less book crafted by this year’s Tony-Winning Choreographer and Director Justin Peck of the NYC Ballet and Pulitzer Winner Jackie Sibblies Drury (who’s work I’ve only been recently introduced to). However, what these two have proved to today’s commercial audience is that you don’t need verbal communication to tell a moving and timely story. If you haven’t read Drury’s works, I highly recommend you do because she is a genius at crafting storylines and characters that l easily pop off the page, and the fact that she did all of this without using a shred of dialogue makes her all the more an A-List writer of the 21st Century. And if there is anything that pushes the plot of this show forward, it’s by all means Peck’s staging. AND Peck’s choreography as it bleeds into the staging sublimely. Peck has created a show that appears small in scale (basic scaffolding set, modern day clothing, elevated pit onstage included), but in all honesty, it feels much more grand and epic. And again, much of that is thanks to his high energy, unexpectedly thrilling choreography. Peck has created singular pieces that showcase a fantastic blend of ballet, modern, and floor barre, plus one instance of death-defying tap, that leaves one’s jaw dropped (much like yours truly here). This ensemble must be made of elastic because they move, flow, contort, leap, lift, twirl, and soar in a way that is magnificently graceful, meticulously structured, and beautifully expressive (even without the need of Stevens’ cryptic-but-somewhat understandable lyrics being sung by three powerhouse singers). It’s hard for me to highlight one single dancer or certain dancers because every single one brings something of their own unique backgrounds to the table that makes this show even more special to watch. And if you also want another spectacular show to watch while watching this one, this production’s Tony-nominated lighting is astonishingly colorful and vivid, and does a smashing job at truly setting the mood and atmosphere of the moment at hand. This musical alone is theatrical catharsis unlike anything else I’ve experienced, and I’m one who doesn’t always enjoy dance pieces. Who would’ve thought number 200 would be the one to make my creative mind explode in a fabulous artistic frenzy even more than any other show I’ve seen to this day. Let’s just find the short way of saying it now: “Illinoise” is masterpiece; see it, period.
