Night Side Songs

Play, Musical (2025)
by Daniel Lazour and Patrick Lazour
Directed by Taibi Magar
American Repertory Theater
in association with Philadelphia Theatre Company
Masonic Temple, Porter Square area, Cambridge (March 27 – April 6)
Hibernian Hall, Roxbury (April 9-20)
March 27 – April 20, 2025

With Jordan Dobson (Harris), Robi Hager (Doctor), Brooke Ishibashi (Yasmine), Jonathan Raviv (Frank), Mary Testa (Desiree, Prudence)

Yasmine (Brooke Ishibashi) is in her early forties, in close contact with her mother, Desiree (Mary Testa), when she discovers a lump, soon to be discovered to be cancerous. The doctor (Robi Hager) attending Yasmine is an old classmate of Yasmine’s and it is his duty to deliver the news and follow up with her treatment. Meanwhile, Yasmine and Frank (Jonathan Raviv) begin a personal relationship which endures through the course of Yasmine’s treatment which continues for years and which inevitably follows a dramatic trajectory.

The plot of this wonderfully put together show seems overly simple on the face of it, but, in the context of the highly engaging performance, its trajectory does not seem wanting for drama or interest. The entire performance is based on audience vocal participation, which sounds annoying but which is actually very natural and very nice. The songs which accompany all nine parts of the narrative are simple and straightforward, but also intoxicatingly beautiful. The performers, as constant and nurturing vocal guides, do a terrific job of getting the audience to rise to the vocal occasion, repeatedly, and with considerably penetrating and persuasive results.

As well, the five vocal performers, including the four mentioned above and Jordan Dobson, who serves as both a guitarist, vocalist and general support in the narrative, are all extremely capable musical theater actors who demonstrate, in addition to their completely magnetic engagement in this story, high levels of musical and dramatic professionalism.

Most of the narrative is pretty straightforward, but there is one point at which it takes a turn to a medieval scene featuring a woman named Prudence who has to deal with a similar cancer but in a time when treatments focused on bloodletting, application of leeches, and praying for miracles. There is also a nod to the worldly aspect of religious life – via a priest’s down to earth carnal explorations before he became a bishop. The overall historic scene, though a bit off the grid of the main narrative, offers a beautiful song – Prudence’s Song – with Dodson singing in a captivating counter-tenor. Succeeding that is another wonderfully engaging duet of male harmonies in The Reason followed by some terrific percussion.

In the middle of a lot of talk about particular chemotherapy treatments, a lovely rendition of the 1984 Cyndi Lauper hit Time After Time, led by Testa and followed by the ensemble, works its way into the song-scape, the only song not written by the show’s creators Daniel Lazour and Patrick Lazour. The song sets the stage for a short scene set in the early 1960s depicting the challenges faced by pioneer cancer doctor Emil J. Freireich in developing new and revolutionary cancer regimens – focusing on childhood leukemia with a combination of drugs in a way not before tried.

One might argue that the medieval scene and the scene about Freireich are somewhat unexpected departures from the main narrative, and might deserve a touch more weaving in. Still, it’s kind of incredible that this short musical play – about eighty minutes without intermission – fits all of this in, but it does so in a way that does not seem particularly disjointed or jarring. One might argue that the final scene become a touch sentimental, but, given the subject-matter, that pretty much deserves a pass.

Overall, the music, though straightforward, is lovely, and it is truly magical how the cast engages the audience in singing its simple but beautifully written arrangement throughout. Alex Bechtel provides expert and supportive piano support, and the instrumental music by him and by Jordan Dobson flow beautifully with the vocal and choral parts.

At the Masonic Temple in Cambridge at which I saw this show done, it is performed in a large gym-type room with audience sitting on three sides of the performers. House lights are kept mostly up throughout the performance which supports the mood of relaxation and familiarity which the players encourage and support. It all works wonderfully well, creating a moving and artistically compelling result.

– BADMan (aka Charles Munitz)