Musical (2005)
Created by Richard Maltby, Jr.
Conceived by William Meade
Directed by Correy West and Karen Oster
Musical Direction by Karen Oster
Merrimack Repertory Theatre
Lowell, MA
November 26 – December 14, 2025
Choreography by Correy West; Scenic Design: Shelley Barish; Costume Design: Amanda Gladu; Lighting Design: Brian J. Lilienthal; Sound Design: David Remedios
With Patrick Dinnsen, Jenna Fawcett, Andrew Frace, Celeste Vandermillen, Nathan Yates Douglass
Johnny Cash, the country music icon, had a long career before his death at 70 in 2003, and this wonderful staged tribute – sort of a musical, but as much a concert – is a wonderful account of his full range of musical contributions. There is the hint of narrative sewn into the songs, but nothing terribly extensive, and certainly not much non-sung text. It is, however, a completely delightful production with top notch singing and playing, wonderful staging and all-around good feeling.
That the five performers both sing and play instruments with such mastery, and function so beautifully as an ensemble, makes the performance entirely appealing. There is no specific attachment of performers to characters – it seems as though Andrew Frace is the most likely of the three men to show a resemblance to Cash, but certainly there are times when Patrick Dinnsen takes on Cash’s persona as well. Both Frace and Dinnsen are excellent guitarists and, along with the other three actor/musicians, Nathan Yates Douglass, Jenna Fawcett and Celeste Vandermillen, provide a terrific array of instrumental backgrounds, and vocal solos and ensembles.
Fawcett has a vividly appealing dynamic that, from the outset, is immediately apparent, and her bouncing and bending to the vibe, along with her incessantly engaging smile, make one, right off the bat, respond to her electric presence. But, as things develop, what seems at first like a more understated electricity begins to emerge from Celeste Vandermillen, who comes more and more into her own when she plays the role of Cash’s wife, and then, in a burst of virtuosity, gives a rip roaring account of I’ve Been Everywhere, a song introduced by the ensemble which includes the names of all of the places Cash has played and visited. The rest of the group partakes in the song and each does the recital of places eloquently and fast, truly amazing to begin with, and then Vandermillen doubles the speed and forces serious headshaking wonderment.
Douglass plays a mean string bass, often slapping the strings to offer a percussive background as well as a tonal one, but he does other great stuff – like climbing up on the side of the bass to demonstrate some merged musical and gymnastic antics. He also offers a lovely guitar and vocal solo in Man in Black near the end. Both Fawcett and Vandermillen play serious fiddle, and Fawcett does some mandolin work as well, while Vandermillen dives into some ukelele, particularly vivid in the beautifully named Flushed from the Bathroom of Your Heart. The instrumental music, all done onstage, is indeed magnificent. The vocals, done as solos or as beautiful harmonies, complement, with clarity and eloquence, the instrumental attainments. The troupe does a wonderful five part a cappella version of Will the Circle Be Unbroken, a resounding testament to their musical adeptness. The duo of Flesh and Blood is also strikingly moving.
It is impressive that with a relatively short theatrical run, the particular requirements of this musically demanding array of thirty-eight songs be so magnificently sculpted and presented.
Though there are narrative elements, they are lightly and sometimes ambiguously addressed. Cash’s moves to Memphis and Nashville early on and his break into songwriting are clearly depicted. His marriage is nicely rendered, though it’s not clear whether what is depicted is his first marriage to Vivian Liberto or his second marriage to June Carter, or both. Cash’s getting strung out on amphetamines is treated persuasively, as is his finally giving them up. His brief sojourns in jail, which, despite his outlaw image, were never more than overnight for a series of misdemeanors, are treated with somewhat less clarity, only alluded to by Folsom Prison Blues. Though the basic outlines of Cash’s life and career are sketched, the main appeal of this show is a quite comprehensive treatment of Cash’s music, and, indeed, this production exhibits excellence in bringing that to the stage.
This is really what is regarded as a jukebox musical, telling its story through a roster of songs. It does a good job of demonstrating Cash’s origins in gospel music, his evolution as a country music songwriter, and, eventually, a writer and performer in somewhat more diverse modes. Some of the songs are covers that Cash helped to make famous in his own way, including the iconic Will the Circle Be Unbroken and the Tim Hardin classic If I Were a Carpenter. But most of the songs are Johnny Cash originals, including the eponymous Ring of Fire, A Boy Named Sue, I Walk The Line and Man in Black, to name just a few.
Overall: A terrific musical tribute, with expert singing and playing, and interesting and capable staging.
– BADMan (aka Charles Munitz)
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