The roots of "Sycamore Trees," the new musical by Ricky Ian Gordon, stretch deep into his own life. Spanning the last half of the 20th century, the work draws the audience into a family that is at once very specific and distinctive, yet one that reveals universal traits, experiences universal traumas and tragedies.
This easy identification factor is one of the best things that "Sycamore Trees" has going for it. Another is the astutely cast, finely polished premiere production from Signature Theatre as part of its laudable "American Musical Voices Project" to commission new works. Even the least persuasive elements in the musical become somehow easier to accept thanks to the ultimately affecting naturalness and vulnerability of the performers, directed by Tina Landau.
Gordon built his musical on the let-me-tell-you-about-myself, ignore-the-fourth-wall devices used in any number of works these days. The Gordon-based character, here named Andrew, even starts off the show saying, "I have a story to tell."
This not particularly fresh approach isn't helped when Andrew is joined by the other characters in an opening song about "coming and going … dying and growing … battered by storming," and how "love is enduring." The effect feels self-conscious and cliched, though there's never any doubt that the sentiments are real, as are the incidents of pain and happiness that unfold.
Such moments pop up at other stages along the way, when the words — Gordon and Nina Mankin did the book — slip into surprisingly stale territory, even as some of the situations are anything but routine. There's not much mileage left in a phrase such as "Let there be light," for example, used here as bookends for the musical; the evident attempt at something profound comes off as rather banal.
That said, there are many wonderful things sprouting from "Sycamore Trees." The New York Jewish family that gradually reveals all its secrets is filled with interesting characters. The parents are particularly colorful — the vivacious, always eager-to-sing Edie, who had a brush with stardom in the Catskills; the gruff Sydney, who saw more than he ever wanted to during World War II.
The set-up, complete with three personality-rich daughters and the lure of a suburban paradise beyond the city on Long Island, suggests strains of Neil Simon. There are, in fact, several funny lines that would be at home in one of his plays.
But then there's Andrew to consider, the gay son. And, in time, his lover, David. And the 1980s, and the hideous reach of AIDS. No Simon-ized wisecracks could smooth over these things, or the descent into drugs that one of Andrew's sister's makes, or various other falls from grace for family members.
"Sycamore Trees" confronts all of these issues without flinching, although, in an effective touch, characters periodically try to stop Andrew from getting to the nitty-gritty as the story progresses — not everyone is ready to relive the pain.
Gordon, a composer as much at home writing opera as musicals, has fashioned a very listenable score. There's a strong trace of Sondheim in it, but considerable individuality as well. Songs don't jump out so much with indelible melodic ideas or clever lyrics as with piquant harmonic turns and orchestral coloring. The music is in great hands with Fred Lassen conducting a small, dynamic ensemble.
Heading the cast is Tony Yazbeck as Andrew. His assured, endearing portrayal and sensitive singing prove invaluable. Diane Sutherland gives a lovable, multidimensional performance as Edie. Marc Kudisch does strong work as Sydney, and the rest add plenty of nuance and energy: Jessica Molaskey (Myrna), Judy Kuhn (Theresa), Farah Alvin (Ginnie) and Matthew Risch as David. James Schuette's scenic design makes inventive use of a mostly open space.
In the end, the musical certainly makes a mark, thanks to Gordon's eventful story and the we-can-all-relate impact. A little pruning, though, and maybe an infusion of more inspired words and music in a few key places, might make "Sycamore Trees" stand even taller.
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If you go
"Sycamore Trees" runs through June 13 at Signature Theatre, 4200 Campbell Ave., Arlington, Va. Tickets are $52 to $76. Call 703-573-7328 or go to signature-theatre.org.