By Adam Cohen…
“Bull Durham The Musical” gets close but lacks the double romantic poetry necessary to drive both romances for the grand slam the creators want.
There is nothing like a musical. Writers defy logic to have songs express exposition, desires, emotional states, or post a comic distraction. Many movies have leaped from screen to stage, of late. The best ones lean into their core audience wants (Death Becomes Her) with abandon. Paper Mill Playhouse’s production of Bull Durham – has a lot to like – but often feels like a swing and a miss.
Literature teacher and baseball savant Annie Savoy (Carmen Cusack) mulls which player to mentor. Under her tutelage of knowledge, poetry, philosophy prospects may flourish. Young Nuke LaLoosh (Will Savarese), a major league bound pitching prospect, whom management describes as having “a million-dollar arm and a five-cent head” catches her fancy. Management brings in Crash Davis (Nik Walker), an experienced catcher with 20-some-odd days of major league service but years in the minors to help LaLoosh. Here lies a romantic quandary the musical efficiently but ineffectively addresses.
Davis must refine LaLoosh’s baseball skills, impart wisdom and respect for the game he loves while also hoping for a return to the major league. LaLoosh, happy for the attention of fans like Millie (Ashlyn Maddox), his Cartier watch, and Porsche is rambunctious and generous with his lust. Annie loves the game and her ways, as well as poetry. But, honestly, the romantic sub-plot between washout player Jimmy (Andrew Poston) is simpler and has more legs – plus better songs. The lack of chemistry between Cusack’s Annie and Waler’s Crash belies the driving force of the show. The audience ends up rooting for Jimmy and Millie.
Where the movie excelled was that screenwriter (and book writer for the musical) Ron Shelton didn’t have to pause for a song. The audience was carefully tended to with reaction shots, assured performances, and a literate, unrushed, respectful screenplay. Hemming in the songs of Susan Werner stunts character development – and frankly – a 2025 prism doesn’t shine too well on the sexual politics the plot hinges upon. She provides music and lyrics tinged with gospel, country, and rockabilly. Too many songs barely propel or elevate the plot. Cusack gets an ode that may yet live beyond the show with the opener “The Church of Baseball.” Her comic number – with the team announcer and manager – is lively and sharp. But her character isn’t fully realized and often feels out of place in the show.
The show is blessed with acrobatic, balletic, graceful choreography by Joshua Bergasse. His numbers lovingly show off the grace and athleticism of the dancers while conveying the complexity of baseball. Director Marc Bruni keeps the pace brisk. He makes clever choices like having the mascot lead the audience in a brisk round of “Take Me Out To The Ball Game” with a t-shirt toss. Derek McLane’s scenic design nicely conveys the rundown, tight spaces of the Durham Bulls’ park and cleverly utilizes bleachers. Cory Pattak’s lighting is often lovely.
Cusack is a gifted singer, and her Annie is intelligence but under-baked by the script. Walker’s Davis is an apt, wise mentor. Savarese in a potentially star-making role has the comic chops and voice to make it. As do, Poston and Maddox.
There’s a lot to like in Bull Durham as a musical. As strong as the technical elements and a lot of the performances, the show is entertaining – but lacks the double romantic poetry necessary to drive both romances for the grand slam the creators want.
Performances continue at Paper Mill Playhouse through November 2nd. Tickets and more information at www.papermill.org
Photos by Curtis Brown
