Review: ‘Leap of Faith’ opens on Broadwa...

Review: ‘Leap of Faith’ opens on Broadwa...

©2012 Joan Marcus

Raul Esparza (c.) leads his followers in a hallelujah chorus in ‘Leap of Faith,’ a new Alan Menken musical.

Jeez, even the climactic thunderstorm is a letdown in Leap of Faith. You can see the water jets wheres the fun in that?

Sorry if thats a spoiler, but nothing happens in this frustrating and manipulative new Broadway musical based on a 1992 S teve Martin movie you dont see coming a mile away.

What is surprising is how infrequently songs by Alan Menken (music) and Glenn Slater (lyrics) make you sit up and take notice.

Is this the same duo that packed Sister Act with tasty disco-pop tunes The composer who wrote the memorable melodies for Newsies? It is.

There are some rousing, albeit repetitive, gospel numbers, each accompanied by Sergio Trujillos gyrating dancing. And the sweet country-and-Western-flavored Long Past Dreamin is a real keeper. Otherwise, the score isas strikingas dust in a drought-ravaged Kansas town.

Thats where phony faith healer Jonas Nightingale (Raul Esparza, of Company and Arcadia) and his band of angels pitch their tent after a bus breakdown. Theyre soon fleecing poor local yokels in their revival meetings.

Enter sheriff Marla McGowan (a likable low-key Jessica Phillips). Shes got Nightingales number, but shes also a lonely widow with a disabled son, Ja ke (Talon Ackerman), turned on by Jonas and his many sleeveless T-shirts. Smart Women, Foolish Choices was a non-issue when Liam Neeson wore the badge on the big screen in 1992.

The sex change is one of several tweaks by Janus Cercone, who wrote the original screenplay, and Warren Leight. Now, Jonas has a sister, Sam (Kendra Kassebaum), and a boo-hoo childhood to lend a shred of psychological background. Unfortunately, there are also too many secondary characters and gaps in logic, such as Jonas gang not knowing hes a con man. Huh?

Director Christopher Ashley has previously done fine work guiding Memphis and All Shook Up. But he doesnt get a handle on this production, which he inherited after a 2010 Los Angeles tryout. It feels out of sync.

Ragtag angels look so slick that they couldve come from blowouts and seaweed wraps at a spa. Even the always reliable William Ivey Long has fashioned costumes that are head-scratchers. Kassebaums Stevie Nicks-style frock cries out for an exorcism.

As the flimflammer in the mirror-ball jacket at the center of all of this, Esparza is full of the devil. He pushes his vocals to the roof, sometimes squeezing his pipes into Patti LaBelle squeals. He stalks the stage with pursed lips and the look-at-me swagger of Mick Jagger. Esparza goes big, bold and a little buggy, but hes never boring.

While hes at it, he joins the roster of con men from better Broadway musicals, including The Music Man and 110 in the Shade. Esparzas not a miracle worker; he cant save the show. But he gives it his all, and that rates an amen.