There are many things about “Brooklyns Bridge.” This is a musical that will premiere the world at Dr. Phillips Centre, a Doctor of Performing Arts in Orlando.
Emily Roebling, wife of Washington Roebling, the chief engineer of Brooklyn Bridge, is a fascinating historical figure. As her husband was neutralised by illness, she led to confirming that one of New York City’s best landmarks (in fact, it was called the eighth wonder of the world. And she did it at once in the late 1800s, when women weren’t welcome in business or government. Or academia. Or where men thought their domain. It was almost everywhere.
The “Bridge of Brooklyn” features a delightful Emily at Laurel Hatfield. Blinking eyes, a confident smile, a voice yelling, she is the heart of the musical flames. However, the show is co-creator Ray Roderick, who directed this debut, and she cannot decide here that the protagonist Emily or the bridge itself.
Therefore, the “Bridge of Brooklyn” feels light in Emily’s inner struggle and challenge. She was such a chipper throughout most of it, and I wonder if there was a real conflict. Meanwhile, a great deal of time and effort is being spent trying to explain how the caisson works and the difficulty of digging the East Riverbed.
But I think most theatreists like me are there for emotional connections, not for engineering lessons. And humans are always more interesting than bridges. Even as amazing as the Brooklyn Bridge.
And there are fascinating people in this history. The infamous Boss Tweed is synonymous with political corruption in its name. Thomas Nast is a brilliant political cartoonist. EF Farrington is the master mechanic of the project and the first to boldly sway the East River with cables.
As Farrington, Brian Love illuminates the stage with each look. And composer Joseph Baker gave him the most entertaining song. John Cavazos is funny and sinks his teeth into the tweed, but the script doesn’t allow him to play the threat that should come with that character. Janine Pappin plays Nast. He works as a worthy storyteller, but while sitting oddly quietly, others speak of his greatest victory.
And the show struggles to speak rather than show key moments in these characters’ lives. All the ensemble members make a strong impression, but all the workers they portray are fragments of characters, not people who connect. Stephen White is particularly distinguished, with his tenor adorning another of Baker’s soothing songs.
Baker also leads the orchestra. The orchestra sounds epic, but the art center’s Pew Theatre sound often leaves musicians, lead singers and choruses on the same level, and actors spoke it at the same time to create the Sonic Jumble.
Many names of the cast can be recognized. Other Central Florida performers include Andrew Meidenbauer, who glitters as a useful project leader, and Alex Albrecht, who was injured as Emily’s weak but rather unclear husband.
This is because “Bridge of Brooklyn” is the result of a special partnership between the New York-based creative team and the Orlando theatre scene. The show, which was workshopped at the university, was later further developed at the Phillips Dr. Centre and was presented at a concert here in January 2024.
“As part of our mission,” said Catherine Ramsberger, president of the Arts Center in Playville, “We provide a space where we can test and present new shows. We provide a place where innovation can unfold and collaboration can drive creative success.”
And there’s certainly a lot of creativity here. This includes the clever use of predictions, including historical photographs and still fascinating cartoons of Nast. But it takes more work to bring this to full strength. Like those men in those caissons, it’s time to dig deeper – not compressed sand, but to emotional and human connections.
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“Bridge in Brooklyn”
Length: 2:10, with breaks included: Doctor of Performing Arts Pew Theatre, 445 S. Magnolia Avenue, Orlando.
