Music City

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By all outward appearances, the Church of St. Paul and St. Andrew on West 86th Street is an unlikely location for a performance space, but deeply nestled into its 2nd floor can be found the West End Theatre, current home of the new country-western musical Music City, featuring songs and lyrics by successful songwriter J.T. Harding. Harding’s songs have been sung by the likes of Kenny Chesney, Blake Shelton, Keith Urban and others, but they are a perfect fit for this small musical with a big heart.

Music City begins and often returns to The Wicked Tickle, an open mic bar in a shadier part of Nashville, managed and hosted by Wyn (Julianne B. Merrill, who also provides music supervision and direction). Clifton Chadick and Eric Southern’s spot-on scenic and lighting designs, respectively, have so perfectly transformed this multi-level space into a bar that it’s easy to forget you’re in a church. The evening gets an early start with $4 “PBR’s” at the bar (that’s Pabst Blue Ribbon beers for you city slickers) and some open mic performances that amuse but perhaps go on a little too long, before the story finally kicks in and the audience is introduced to two struggling songwriting brothers, TJ (Stephen Michael Spencer) and Drew (Jonathan Judge-Russo), frequent singers at the Tickle.

The duo is approached by agent Leanne (Leenya Rideout) who expresses interest in their songs for her famous client, singer Stucky Stiles (Andrew Rothenberg). The brothers need to record a demo of their songs but have no cash, so they reluctantly agree to deliver drugs for a local dealer, Bakerman (Rothenberg), to raise money for the recording studio. Both TJ and Stiles’ attentions are drawn to newcomer “23” (Casey Shuler), who later shows up at the Tickle with her own songs. 23 and her mother, Tammy (Rideout), have just moved to a new part of town, 23 hoping her mother can get a clean start away from her addiction. Guess who’s delivering Tammy’s drugs?

Judge-Russo plays the side-kick brother Drew with a charming, humorous innocence, and Spencer’s portrayal of TJ is energized and deeply earnest. Shuler as 23 is fierce and passionate; Music City gets a superficial start but the moment when Shuler opens her mouth to sing, first with the yearning “Something More,” a person really starts to lean into this story. Shuler and Spencer are terrific together; when their characters first begin to write the song “Smile,” the chemistry is unmistakable, and continues throughout the musical.

Double cast as both Leanne and Tammy, Rideout is, in a word, fantastic. She portrays both characters with such complete distinction that the subtle costume changes are almost unnecessary. Not only does she expertly play multiple instruments at the drop of a ten-gallon hat, but her one song in the show, “For This Town,” is sublime.

Double-cast lightning strikes twice with Rothenberg, who gives his portrayals of the drug dealer Bakerman and the famous Stucky Stiles more dimension than a playwright could ever hope for from such single-minded, thin characters.

Peter Zinn’s script starts out lightly but carefully deepens when the themes of drug addiction and poverty-line morality are introduced. The characters are well-built, and except for what seems to be a missing final confrontation between 23 and Stiles, the plot is well-structured.

Hats off (literally) to wig designer Becky Scott for hiding Spencer’s real hair, and as well to costume designer Daniele Tyler Mathews, who perfectly outfits each actor in careful alignment with their characters without stereotyping. John Heginbotham’s choreography (most often employed by two impressive, athletic ensemble dancers) supplements the songs and story nicely.

Eric Tucker’s direction is commended for shaping Zinn’s work to maximum effect, and for encouraging listening between the actors, which is evident by their richly authentic interactions.

Harding’s music varies from the humorous and catchy to gutsy and poignant; it’s easy to see why he’s a chart-topping songwriter. Each of his songs are perfectly set into this story, arranged with excellent harmonies when called for, and gives each character who sings them a great moment to shine. Even the oft-appearing bar manager Wyn(ona) gets a song, “Alone with You,” sung with tender vulnerability by Merrill. It’s a lovely moment, not just because of Merrill’s appreciable vocals, but also because the cast members couple up and slow dance along with it, in a mix of same/different genders.

The fact that I’m not a frequent country and western music listener delayed my realization that Music City is ultimately a “jukebox musical,” but this label should not be used reductively when describing this fresh and vibrant piece of theater. My theater companion has informed me she can’t stop listening to the songs (some of which can be found on a popular streaming service). We hope the show extends or moves elsewhere so we can see it again.

Music City (extended to February 2, 2025)

Bedlam

West End Theatre, 263 West 86th Street, in Manhattan

For tickets visit https://bedlam.org/whats-on

Running time: two hours and 30 minutes including one intermission

Young songwriters struggle to be seen and heard in the gritty underside of Nashville.