Distant Thunder

An intriguing musical take on the lives of Native Americans.

Posted on October 8, 2024 by Joel Benjamin in Musicals, Off-Broadway

Sampwe Tarrant in a scene from the Amas Musical Theatre production of “Distant Thunder” at A.R.T./New York Theatres (Photo credit: Russ Rowland)

We’ve come a long way from Annie Get Your Gun to the new musical Distant Thunder produced by Amas Musical Theatre at the A.R.T./New York Theatres. The Irvin Berlin song “I’m an Indian, Too” from Annie is filled with silly clichés about our indigenous people that Distant Thunder puts to rest.

Distant Thunder, written by Lynne Taylor-Corbett and Shaun Taylor-Corbett (book) and Shaun Taylor-Corbett and Chris Wiseman (music and lyrics), (with additional music and lyrics by Robert Lindsey-Nassif and Michael Moricz,) deals sensitively with issues facing Native Americans today. All of the actors are members or descendants of Native Americans and all give body and soul to their characters.

Distant Thunder revolves around Darrell Waters (Shaun Taylor-Corbett) who was removed by his non-native lawyer mother from the tribal lands of the Blackfeet Nation. She left her failure of a husband, White Feather (Jeff Barehand). Darrell’s life charted a different course from his less advantaged, abandoned community. Darrell has returned from Chicago as a lawyer who harbors big, but unwelcome, plans for the native lands where he grew up.

Angela Gómez and Shaun Taylor-Corbett in a scene from the Amas Musical Theatre production of “Distant Thunder” at A.R.T./New York Theatres (Photo credit: Russ Rowland)

Darrell’s entrance is preceded by a beautiful dance performed by two cast members in full feathered regalia accompanied by live drumming and singing provided by the Dancing Family Drum. (Traditional choreography coached by the Thunderbird American Indian Dancers and Brent Florendo.)

Native song and dance, including a touching duet for Darrell and a native dancer keep the musical anchored to its Indian roots. This duet brings home Darrell’s final acceptance of his duties to his newfound community and his budding devotion to Dorothy Dark Eyes (Angela Gómez), the progressive teacher devoted to keeping the spirit and language of her tribe alive in her language immersion school, a building that stands in the way of Darrell’s big plans.

Darrell is thrust back into his past during a dinner at the home of the matriarch Betty Still Smoking (Michelle Rios), her daughter Shareen Still Smoking (Chelsea Zeno who also plays Darrell’s mother in flashbacks) and other community members including young Smudge (Bonale Fambrini who also plays Darrell as a young boy).

Brent Florendo and Spencer Battiest in a scene from the Amas Musical Theatre production of “Distant Thunder” at A.R.T./New York Theatres (Photo credit: Russ Rowland)

Smudge and his friends, Aiyana (Aubee Billie) and Tonto (Spencer Battiest), cause headaches in the community, robbing the Old Man (Brent Florendo) of his irreplaceable artifacts, hoping to sell them to support their selfish plans.

The Old Man is the spiritual center of Distant Thunder, a man whose encyclopedic knowledge of his tribe’s history is dispensed freely and lovingly.

The slowly developing relationship between Darrell and Dorothy is paralleled with the up and down relationship between Shareen and Jim Running Crow (Xander Chauncey), a man full of self-doubts.

Sam Silver (Glenn Stanton), the Bureau of Indian Affairs official, uses his authority to cheat the very people he is supposed to help. He conspires with Darrell to give tribal land to a huge corporation for mining using the excuse that it is a great thing for the future of the reservation even though it involves destroying Dorothy’s school.

Xander Chauncey, Chelsea Zeno, Angela Gómez, Michele Rios, Brent Florendo and Shaun Taylor-Corbett in a scene from the Amas Musical Theatre production of “Distant Thunder” at A.R.T./New York Theatres (Photo credit: Russ Rowland)

All these complicated issues are resolved a bit too cleanly: love conquers the couples and the threats to the reservation are thwarted.

Regina Garcia’s scenery—mostly small pieces that come together to form tables, desks, etc.—economically evoked the ambiance of this wide-open land, helped by a stage-wide backdrop painting of colorful mountains and plains.

E.B. Brooks’ remarkably detailed costumes define the characters, from Grandma Jingle Dress’ shiny bits to the extraordinary authentic American Indian attire and the everyday outfits in between.

The subtle lighting designs of Anthony Pearson suggest the beautiful natural light of the West.

Sampwe Tarrant, Jeff Barehand, Brent Florendo and Johnlee Loookinglass in a scene from the Amas Musical Theatre production of “Distant Thunder” at A.R.T./New York Theatres (Photo credit: Russ Rowland)

The songs, all performed expertly by a cast of expressive singers, range from anthems (“Time Stands Still”) to emotional probing (“Strong Enough,” “The Price is Too High” and “Pick Up the Pieces”), the quietly uplifting (“Distant Thunder” and “Pick up the Pieces”) and humorous (“Ride, Cowboy, Ride”).

All the numbers are effective if not memorable. All are performed with zest. The actors fill their roles with nuance and skill. Taylor-Corbett holds the play together with his thoughtful, nuanced performance. His romantic partner is beautifully portrayed by Gómez; Rios’ Betty is a richly satisfying character. All the characters, under Lynne Taylor-Corbett’s direction, resonate beautifully.

Unfortunately, despite the provocatively exotic ambiance of the show, Distant Thunder suffers from an ordinary plot: boy meets girl and finally gets her; evil plans thwarted; and spiritual fulfillment discovered.

Shaun-Taylor Corbett and Bonale Fambrini in a scene from the Amas Musical Theatre production of “Distant Thunder” at A.R.T./New York Theatres (Photo credit: Russ Rowland)

The creators of the show do a great job illuminating the lives of these often forgotten people but that isn’t quite enough to raise Distant Thunder’s appeal as a musical theater work. There’s a lot there, but, sadly, not enough.

Distant Thunder (through October 27, 2024)

Amas Musical Theatre

A.R.T./New York Theatres, 502 West 53^rd Street, in Manhattan

For tickets, call 212-563-2565 or visit http://www.amasmusical.org

Running time: two hours including one intermission

About Joel Benjamin (575 Articles)

JOEL BENJAMIN was a child performer on Broadway and danced with leading modern dance and ballet companies. Joel has been attending theater, ballet and opera performances ever since childhood, becoming quite opinionated over the years. He was the founder and artistic director of the American Chamber Ballet and subsequently was massage therapist to the stars before becoming a reviewer and memoirist. He is a member of the Outer Critics Circle.