Mark Sonnenblick's musical Midnight at the Never Get at the Menier Chocolate Factory is a polished but schmaltzy exploration of sexual identity and self-expression in the 1960s New York club scene. The theatre is transformed into a nightclub for this cabaret-style production.
Plot and Characters
Trevor, played by Broadway star Ben Platt, and songwriter Arthur, played by Gregor Milne, are a gay lounge duo who sing openly about their love in the style of the Great American Songbook. They disdain rock music and the growing politicisation of their peers. The musical covers themes of art versus protest, emotional authenticity, and finding one's voice.
Trevor moved from Idaho to Greenwich Village to express his voice and sexual identity. In 1963, gay clubs were technically illegal in New York but plentiful. He meets Arthur, and they become partners on and off stage, eventually securing the midnight slot at a dive called the Never Get, run by a cross-dresser named Sister Etcetera.
Musical Style and Themes
The songs range from 1930s-style numbers like 'Bells Keep Ringin'' to torchy 1950s ballads like 'Mercy of Love' and 'When It's Spring Again'. The musical suggests that gay culture had to be cloaked in camp or irony, and that sincerity was more shocking than outrageousness. Arthur's commitment to his art leads him to sacrifice his emotional life and betray Trevor.
According to critic Nick Curtis, the show is anchored by Platt's melodious, heartfelt, somewhat indulgent rendering of Sonnenblick's blithe songs, accompanied by Milne on piano and an excellent band. The 100-minute staging sags a little before the end but as a song cycle describing the arc of a relationship against an evocative urban backdrop, it's great fun.
Production Details
David Cromer's production features a band with a drummer, bassist, and a brass section concealed behind glass. The Menier Chocolate Factory makes a splendidly seedy, old-school nightclub. The show runs until 12 September at menierchocolatefactory.com.
Platt, who won a Tony for Dear Evan Hansen, is well cast as the wry, fragile, needy crooner, but his performance demands empathy rather than winning it. The musical's final scene features a coup de theatre involving actor Barry James that critics advise not to spoil.
