Disney High School Musical - On Stage

Anything that brings a child happiness can't be all bad.

Paper Mill Playhouse is currently presenting Disney's High School Musical—On Stage. And while I've been a professional reviewer for several decades, this is one case where what I think of the musical may not be as relevant as what my niece—nine-year-old Julia Deffaa—thought of it. "That was the best show ever," Julia exclaimed afterwards. She went fully primed for the experience, wearing a favorite High School Musical shirt. She's seen all three High School Musical movies, owns two of them on DVD, and sang along happily on some of the songs while watching the show. She is a third-grader, and third-grader's may not always have the longest attention spans; but this show had just the right blend of familiarity and freshness to hold her attention from beginning to end. Afterwards, she was eager to meet the cast, and get their autographs. And she has been telling all of her friends about the experience.

Speaking as a critic, I have some reservations about High School Musical—On Stage. This sunny, simplistic G-rated musical is not the best show that I've ever seen. It makes no attempt—the way, say, a top musical like Gypsy does—to offer real insights into characters. The surprisingly uneven score of this show strives to be perky and catchy, without aiming for any kind of grandeur, or great emotional wallop.

But it's certainly got some fun moments. The high spirits are often infectious. The basic message—that kids should feel free to be who they want to be, rather than living up to the expectations of others—is a positive one. And it's been quite a while since I saw so many young audience members in a theater. The kids in the house all seemed to be having just as good a time as Julia. While my own enthusiasm for High School Musical—On Stage expired a bit before the predictable ending finally arrived, I have to admit there's a place for this show. And, despite whatever mixed feelings I might have about the script and score, I also have to admit that Paper Mill has done a strong production.

There isn't a weak link in the cast that director Mark Hoebee (with the assistance of casting director Alison Franck) has put on this stage. Chase Peacock (pictured) made a perfect Troy (the basketball player who secretly wants to be in musicals); he's got the looks, the voice, the ease, the likeability (with just a smidgen of welcome vulnerability) to make a most appealing leading player. I look forward to seeing more of him, over time, in better shows. Sydney Morton was just as wholesome as Gabriella, the wide-eyed girl who falls for him, and also wants to be in musicals, although that isn't what others in her high-school clique ("the Brainiacs") think she should do. (I like this show's anti-clique message.)

Bailey Hanks—my niece's personal favorite in the cast—was deliciously evil, in a Disney sort of way, as Sharpay, the bad-seed Drama Club president who'll stop at nothing to get the lead in a show at her high school; her doofy younger brother/sidekick, Ryan, was played with engaging verve, too, by Logan Hart. There were fine turns, as well, by featured players Donna English and Stephanie Pam Roberts.

Hoebee has gotten everyone in the cast to give 100%. There is solid work from everyone on that stage right down to the very last member of the ensemble. I wish there were more dancing in the show and, at times, I would have welcomed more inventive choreography; I think this show could benefit from more ensemble dancing (which gave, for example, the similarly youth-oriented Footloose so much of its lift on Broadway). If the show were to play Broadway, having more dancing might help broaden its appeal. But what dancing there is, at present, is done very well. And there are some wonderful touches. I wasn't expecting it, for example, when a terrific young dancer named Adrian Arrieta went flipping across the stage. It just took the already-high energy level on stage that much higher.

I really like the spirit projected by this cast—the freshness, the vigor, the exuberance. Everyone on that stage is performing with elan, as if they were in the greatest show in the world. Hoebee and choreographer Denis Jones deserve credit for creating that atmosphere, no less than the cast members. They've got a show with such a well-known brand name, they could have gotten by with a half-hearted production; they still would have sold tickets just because everyone knows the High School Musical name. But, to their credit, they didn't slack off. They're making the most of the material they've got.

I wish that were the norm, but it's not. When Fame (to cite another youth-oriented show with a well-known brand name) opened Off-Broadway, the production was sloppy; too many of the actors seemed to be going through the motions like they really didn't care. After Rent had been running for years on Broadway, the passion and commitment of the original cast wasn't always there, and the property was weakened. Sprit counts.

High School Musical—On Stage may not be the greatest musical. The songs (by a total of no less than 13 different writers) range from irresistible to banal and forgettable. The script, by David Simpatico, is straightforward, upbeat, and neatly constructed (which is more than you can say about the script of, say, Grease, which is a mess), without offering great surprises. But the show is being performed with great zest. And Hoebee's decision to have actors, at key points, performing in the aisles—bringing them as close as possible to audience—was a big hit with my niece, and plenty of other thrilled kids, too. My niece was so surprised, and delighted, when Troy first spoke or sang from a spot in the aisles. And there with other nice, surprising little effects, right up until the end. I loved seeing the actors burst out of the lockers for the curtain call. Another nice surprise.

I'm all for anything that will bring young people into the theater; we need to build audiences for tomorrow. If you have kids or grandkids—or nieces or nephews or cousins—in grade school or middle school, they'll find this a great treat. As an adult, you may not exactly find High School Musical—On Stage challenging. But it's got life. And seeing the smile it puts on a young theater-goer's face isn't a bad thing. I'm taking Julia to something more challenging next time. But I'm enjoying sharing in her happiness over this show and look forward to seeing some of those good actors, in time, in better shows.

Chip Deffaa
Cabaret Scenes
November 16, 2008
www.cabaretscenes.org