The Savannah Saga Falls Short: A Review of ‘Midnight in the Garden of Good and Evil’
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The much-anticipated musical adaptation of John Berendt’s iconic New York Times best-seller, “Midnight in the Garden of Good and Evil,” promised a seductive mix of southern charm and intrigue. Unfortunately, the reality fell far short of expectations.
The musical kicks off with an opening sequence featuring Voodoo Mama, which was meant to be thrilling but ended up being quite the opposite. Instead of setting an enticing tone, it nearly put me to sleep. This segment felt completely unnecessary and detracted from the overall experience.
The heart of the problem lies in the book. The musical attempts to juggle two separate stories within the same world, but they never truly connect. The supposed drama/thriller element is a confusing mess. What crime are we solving here? The situation with Jim Williams and the self-defense claim is clear, but the narrative meanders aimlessly. Is the focus on southern homophobia or racism? The communities barely interact, leaving us with no clear direction or message.
J. Harrison Ghee, known for their dazzling performance in “Some Like It Hot,” brings undeniable talent to the role of Lady Chablis. However, even their skill couldn’t salvage the weak storyline. The narrative feels like a mismatched blend of “Hairspray” and “Legally Blonde,” recycling a tired “Girl helps girl” theme. There’s nothing innovative or exciting here. With Jason Robert Brown attached, my expectations were sky-high. Unfortunately, this adaptation feels like a total waste of his genius. Despite the involvement of Tony Award winners like Brown and Rob Ashford, and choreographer Tanya Birl-Torres, the show fails to live up to the hype. The book’s fundamental flaws overshadow their efforts.
Taylor Mac, a MacArthur Genius Grant recipient, needs to reconsider his approach to storytelling. While his creativity is unquestionable, playwriting might not be his strongest suit. The storytelling in this musical feels rushed and unfinished, lacking the coherence and depth that are essential in theater. The musical does have its strengths. The staging is visually stunning, capturing the grandeur and charm of Savannah, Georgia. The direction is competent, and the acting and singing performances are commendable. However, these elements can’t redeem a show with such a flawed foundation.
Adapting a beloved book and film into a musical is no small feat. The Southern charm, the sensational trial of Jim Williams, and the eccentric residents of Savannah had immense potential. Yet, none of this translated effectively to the stage. The adaptation fails to capture the essence that made the original story a blockbuster. In conclusion, “Midnight in the Garden of Good and Evil” is not ready for Broadway. Despite its potential and the talent involved, the musical is hindered by a deeply flawed book and a lack of narrative clarity. My advice? Skip this one and save your excitement for a production truly worthy of the Broadway stage.
