Tapping to the Rhythm: Huey Lewis Rocks 'The Heart of Rock and Roll
A standout feature of the recent Netflix documentary "The Greatest Night in Pop," Lewis takes center stage in a star-studded session from 1985 where the iconic anthem "We Are the World" was recorded. Amidst luminaries like Michael Jackson, Bob Dylan, Tina Turner, and Bruce Springsteen, Lewis, the quintessential everyman rocker, finds himself in awe, still marveling at the opportunity. He even steps into the shoes originally meant for Prince, a momentous experience he cherishes to this day.
Now, Broadway welcomes the arrival of "The Heart of Rock and Roll," a production that embodies the essence of Huey Lewis himself. Rather than a mere musical tribute to Huey Lewis (and the News), it's more akin to the epitome of musicals—a show that doesn't take itself too seriously, excelling in its craft and simply reveling in its presence on Broadway, amidst grander productions.
True to the nature of jukebox musicals, "The Heart of Rock and Roll" seamlessly weaves chart-toppers like "The Power of Love" and "Stuck With You" with lesser-known gems into a narrative that serves as a fitting backdrop.
Set in 1987, the storyline, penned by Jonathan A. Abrams based on a tale by Tyler Mitchell and Abrams, revolves around Bobby, portrayed by Corey Cott of the acclaimed "Bandstand." Bobby toils away at a struggling cardboard box manufacturer in Milwaukee, yearning to break free from the assembly line monotony and carve out a place in the sales department, driven by a desire to "Be Someone," as a catchy new tune in the show suggests. Yet beneath his facade of conformity, lies a deeper yearning—perhaps not just for corporate success, but for a return to his musical roots with his old band, the Loop. Despite belting out anthems like "It's Hip to Be Square," Bobby's internal struggle questions the authenticity of his conformity.
Dreams loom large in "The Heart of Rock and Roll," echoing themes of pursuit, realization, and relinquishment, often served with a side of sentimentality and clichés. Bobby, portrayed with laid-back charm by Cott, embodies the archetypal "good guy," haunted by the allure of "one last show" and burdened by emotional baggage from his past.
However, amidst the emotional journey, the production balances itself with a generous dose of good-natured humor, courtesy of Gordon Greenberg's direction. Memorable supporting characters, including Bobby's love interest Cassandra (played with delightful eccentricity by McKenzie Kurtz), inject levity into the narrative, reminiscent of the comedic brilliance seen in "Kinky Boots."
In a nod to its predecessor, "The Heart of Rock and Roll" echoes the factory setting of "Kinky Boots," utilizing Lorin Latarro's dynamic choreography to infuse energy into scenes, ingeniously incorporating props like cardboard sheets and Bubble Wrap.
As the storyline unfolds at a packaging convention, the ensemble cast shines, particularly Tamika Lawrence as the pragmatic head of H.R., Roz, whose dry wit adds a layer of depth to the narrative.
And no tale is complete without its antagonist, with Billy Harrigan Tighe delivering a memorable performance as Tucker, Cassandra's overbearing ex. His comedic prowess shines in the uproarious number "Give Me the Keys (And I'll Drive You Crazy)," a standout moment that encapsulates the show's infectious spirit.
While the dialogue occasionally sparkles, it's the performances that truly elevate "The Heart of Rock and Roll," supported by Greenberg and Latarro's dynamic staging. Bobby's rendition of "I Want a New Drug" epitomizes the allure of rock 'n' roll, underscored by Jen Caprio's inventive costume design.
"The Heart of Rock and Roll" may not spawn scholarly analyses or dissertations, but its unpretentious charm and solid craftsmanship offer a delightful escape—a sentiment echoed by Huey Lewis himself: "Have a good time, 'cause it's all right."
