One year, seven month…and 45 minutes (if you know, you know). That’s how long I waited to once again be seated in the audience at TPAC to witness the unmatched joy of live theatre. Thanks to The Band’s Visit, the 10-time Tony Award-winning musical, with book by Itamar Moses and music and lyrics by David Yazbek, which opened its Nashville tour stop Tuesday night at TPAC’s Jackson Hall, it was worth the wait.
With a show open taken directly from the musical’s source material—2007’s beloved Israeli film of the same name—a screen displays simple intertitles that read, “Once, not long ago, a small Egyptian police band arrived in Israel.” The intertitles continue, “Not many remember this, it was not that important.” This simple setup leads into the show’s first musical number, “Waiting”, (a bit of extra irony for TPAC’s opening night crowd). “Waiting” is a surprisingly poignant tune in which the inhabitants of Bet Hatikva lament the doldrums of life in their small town with lyrics like “We’re experts at waiting” and “you keep looking off into the distance even though you know the view is never going to change”. But change and a bit of excitement come when you least expect it.
Enter Egypt’s eight-piece Alexandria Ceremonial Police Orchestra, who’ve been booked to play an Arab culture center in Petah Tikva, but who’ve mistakenly traveled to the similarly pronounced Bet Hatikva. “Welcome to Nowhere”, features cast members Janet Dacal as Dina, owner of a small cafe, Clay Singer as Itzik, an out of work, happy-go-lucky guy, inspire of an often troubled marriage and Coby Getzug as Papi, a young man who just wants to fit in an find love. The theme of being stuck in your own surroundings is amplified in “Welcome to Nowhere” as Dina and company inform the band they’ve ended up in Bet Hatikva, with a B… “like in boring…like in barren…like in bullshit…like in bland” and as Dina lyrically succinctly puts it, “like in basically bleak and beige and blah, blah, blah”. With Broadway credits ranging from The Full Monty, Women on the Verge of a Nervous Breakdown, Tootsie and Dirty Rotten Scoundrels (and awards an accolades to match), it’s no wonder the lyrics to this and the entire soundtrack are B like in brilliant.
As for the band, they’re lead by Sasson Gabay as Colonel Tewfiq. A fan of the 2007 film, I have to say, what a thrill to see Gabay in the role, considering the fact he originated it in the movie. Joe Joseph appears as Haled, a young flirtatious musician who idolizes Chet Baker. James Rana plays Simon, the band’s clarinetist and aspiring composer who’s unfinished concerto perfectly reiterates themes of longing prevalent throughout. While the remaining members of the band don’t figure as prominently in the subplots of the show, their expertise as musicians during the interstitial musical interludes perfectly weave the story together. To that end, Yoni Avi Battat, Roger Kashou, Brian Krock, Kane Mathis and Wick Simmons round out The Band. Spoiler Alert: Do NOT leave after the initial curtain call, or you’ll miss a thrilling musical performance by all.
On the subject of The Band, they’re dressed in power blue military uniforms (designed for the original Broadway production by Sarah Laux), surely representative of the breath of fresh air The Band’s Visit becomes to this small burg. The clever book even makes reference to their uniforms. One such mention by one of the band members himself, likening them to Michael Jackson, who had a penchant for military costumes; another jokingly referring to The Band as Sgt. Pepper’s. Coincidentally, my weird pop culture brain did indeed think of The Beatles when I saw the uniforms, but not because of their Sgt. Pepper’s uniforms, rather due the fact that two of the Fab Four, George Harrison and John Lennon once famously owned matching Fender Stratocasters powder coated in a similar Sonic Blue, but I digress.
When Dina informs The Band that the next bus to their intended destination doesn’t depart until the morning, she offers them a meal and arranges accommodations with herself and her friends. Tewfiq and Haled join Dina at her apartment. Along the way, Haled inquires about a payphone, in hopes of contacting the Egyptian embassy to inform them of their travel snafu. Dina points towards the only payphone in town, which is guarded day and night by a young man (Joseph Grosso, credited simply as Telephone Guy in the playbill) who waits for a call from his girlfriend, even though it’s been months since she left their small town.
Once inside Dina’s apartment Tewfig inquires about her relationship status. “It Is What It Is” matter -f factly reveals her husband has abandoned her, but she does’t seem too bothered. As for Tewfiq, he’s not so free opening up, only acknowledging the existence of a wife and son.
The action then shifts to Itzik’s where he, his wife, Iris (Kendal Hartse) their infant son and his wife’s father, Avrum (David Studwell) are joined by band member Simon. During dinner the wine flows freely, especially noticeable for discontented wife, Iris,. It’s subtle stage direction like this that truly sets this show apart. It’s the small, intimate actions, interactions and reactions that make The Band’s Visit such a charmer. Curious about his hosts, Simon asks Iris’ father about his wife. This leads Studwell’s Avrum to respond with one of the show’s most beautiful, figurative, literal and most heart-felt musical moments, “The Beat of Your Heart”. The tune contains still more clever lyrics courtesy Yazbek infectious score, including “love sparks on the upbeat, igniting on a minor 9th, resolving to a major 6th, then something clicks and everything starts”–be still my inner band-geek’s heart. Later in the evening, Iris storms out, but Itzik informs Simon that this is a frequent occurrence and she always returns. Even later, just as the baby has been put to bed by a sweet lullaby from Itzik, he awakens and begins to cry. Simon asks if he can play the baby back to sleep, but just as he enters the baby’s room, Isis returns. Upset that a stranger is in with the baby she rushes to the room in time to witness Simon’s solo lulling the crying baby to a restful hush. Rethinking her actions of the evening, she then embraces her husband in a lengthy and well-intentioned hug.
Elsewhere that evening, The Band and their momentary hosts all embark on varying but ultimately similar journeys of self-discovery and unexpected, but welcomed growth. Dina and Tewfiq enjoy getting to know each other over dinner and share a common interest in music and movies as expressed in another gentle musical moment, “Omar Sharif”. Not gonna lie, maybe it was the fact that this show marked my return to the audience after such a long global intermission, maybe it’s the fact that I’ll shed a tear at the drop of a hat, or maybe it’s that as a child, movies, music and theatre were my escape from reality, but my eyes began to ‘sweat’ as Janet Dacal sang this one. Side Note: those currently required face masks serve a dual purpose as they quickly absorbed the tears as they trickled down my face.
Moving on to an equally sweet, but slightly less somber event of an evening out on the town in Bet Hatikva, Haled joins Papi and friends as the fifth wheel of a double date at the skating rink. On the way he stops by the payphone as it is ringing and leaps in front of Telephone Guy to answer it. It is the embassy confirming they’re indeed stuck till the morning bus. During his conversation, Telephone Guy is seen nervously rolling the hem of his sweater between his finger and thumb and tugging at it anxiously. Another almost unnoticeable stage direction that, if it drew your eye, you’ll understand and appreciate a later revelation all the more. At the rink, Papi expresses his anxieties of romance to Haled courtesy the tune “Papi Hears the Ocean”. Ever the romantic, Haled encourages Papi with “Haled’s Song About Love”.
As the scene shifts back to Dina and Tewfiq, an ill-fated current romance temporarily and accidentally interrupts their evening, but all is not lost as they take a walk to the park. Not actually a park, but a solitary bench, Dina paints the picture of a park with her imagination, a perfect symbol for survival in a nowhere town. A pivotal moment in their burgeoning relationship comes by way of “Itgara’a”, a song Tewfiq sang to his wife in his native language. As he sings, Dina, who doesn’t understand his language, wonders aloud by way of another song, “Something Different” in which she questions if his accidental visit to her town might have been fate stepping in.
Just as Tewfiq begins to open up to Dina and she begins to see perhaps a future with him beyond their change night together, Haled interrupts with news that the bus will indeed pick them up in the morning. The news instantly returns Tewfiq to his role as Colonel and he rushes off without even a goodbye. Dina then examines the meaning of their budding relationship with a Reprise of “Something Different”, after which, if by instinct of simply pent-up romantic tension of her night out with Tewfig, she kisses Haled after he offers a patented, but meaningless compliment of her eyes.
Having provided a bit of comic relief throughout the show as he’s seen looming over the payphone, Joshua Grosso’s moment to shine comes front and center as the show’s 11th hour tune, “Answer Me” during which he questions his devotion as he is joined by his friends and neighbor, all longing for answers. Some long questioning like Itzik and Iris, others seeking answers to the evening’s events like Dina, Papi and Haled.
When I first saw the film, I remember being touched by the smallness of it, the intimate nature of it. Having grown up in a small town myself, I not only related, but relished in it. In preparation of my recent Rapid Fire Q&A with Kendal Hartse (check it out HERE), I watched the film again and checked out a few items online about the Broadway adaptation. I noticed a few nay-sayers who felt the intimacy of the piece was lost between it’s off-Broadway small capacity venue and Broadway or the National Tour, but in the audience last night, I felt none of that. The touring company, while small in number compared to some of the blockbuster, effects-heavy, crowd-pleasers that contain full-on show-stopping grandiose mega-numbers, complete with pyrotechnics, have absolutely nothing on the heart, warmth and charm of The Band’s Visit. From it’s fast-paced, quickly established and fully fleshed-out storylines and characters to the much-praised—and rightly so—score and poignant and clever dialogue, The Band’s Visit is a visit you’ll not soon forget.
The Band’s Visit continues the Nashville leg of its National Tour with shows at TPAC’s Jackson Hall Wednesday, October 20 thru Sunday, October 24. To purchase tickets, CLICK HERE.
As a reminder, as TPAC reopens its doors for their Broadway series, their commitment to their patron’s safety is key. To that end, attendees age 12+will be required to show proof of vaccination or a negative COVID test dated within 72 hours of their selected performance. All patrons age 6+ must wear masks inside the venue. CLICK HERE for more on TPAC‘s Patron Health initiative.
Not in Nashville or can’t make it to TPAC for The Band’s Visit? Be sure and check out The Band’s Visit website for details on upcoming tour stops in Pittsburgh, Buffalo, Worcester, Hartford, Los Angeles, Portland, San Francisco and more, throughout cities across the US through Summer 2022.
For the latest on TPAC and their upcoming Broadway Season and Special Presentations, including Disney’s The Lion King, Mean Girls, The Prom, Dear Evan Hansen, Summer: The Donna Summer Musical, What the Constitution Means to Me, Come From Away, Oklahoma! and May We All, be sure to check out TPAC online and on socials by clicking any of the following: TPAC.org, TPAC on Instagram, TPAC on Facebook, TPAC on Twitter and TPAC on YouTube.
For more about The Band’s Visit, check them out on Facebook, Instagram, Twitter and YouTube.
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