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Death Over Life
Duncan Sheik's modern, singer/songwriter-driven songs of Spring Awakening are what made it so compelling to so many. 8 Tony Awards and a Grammy later, that show is responsible for introducing an entire new generation to musical theater. With the genre plagued by mediocre revivals and blockbuster-inspired tripe, Whisper Houses's shotgun wedding of drama, rock concert and film represents another innovation, to say the least. The show is already Broadway-bound: it's premiere at the Old Globe is a feather in the cap of both the theater and the city's arts community. But even in the flagging world of musical theater, innovation can be divisive. So perhaps it is no surprise that reviewer Jeff Smith's conservative sensibilities were offended by this brilliant new work. Mr. Smith's hand-wringing over what ghosts are REALLY like and the breaking of the precious fourth wall -- as if that is unprecdented -- are simply silly; but ultimately, his review betrays a deep contempt for San Diegans' ability to comprehend and appreciate new theater. In his review, he pats us on the head and tells us what songs in musicals are for. But his understanding of what new theater can be is not just old school, it's downright asinine in 2010. So it is unfortunate that his nasty review will stand as the Reader's take on this play, a production which respects the modern audience by avoiding the predictable. Moreover, Mr. Smith stands alone in his harsh criticism: the LA Times says "In an age of shamelessly commercial blockbusters, [Whisper House] is every bit as noteworthy as a return from the dead." Theatermania concluded "there's enough promise in Whisper House that Sheik might have another hit musical on his hands." Both publications noted the excellence of the performances, music, arrangements and unique set design. But perhaps most unfortunate of all is the failure here to note Whisper Houses' subtle commentary on war, racism and the culture of fear -- all points that, remarkably, Mr. Smith seems to have missed. Or maybe he avoided comment on the themes of the play because he doesn't think we'd get it. For those more interested in indulging in 20th century tropes, there is an excellent take on Neil Simon's Lost In Yonkers playing next door. For those interested in the future of musical theater, there is Whisper House.— January 28, 2010 1:06 a.m.