Alan Lightman’s novel, Einstein’s Dreams, follows a fictionalized Albert Einstein during the period he was developing his theory of relativity. This literary exploration of time and our relationship to it has in turn inspired a number of artists including Joanne Sydney Lessner and Joshua Rosenblum. Their musical version — also called Einstein’s Dreams — is currently making its off-Broadway debut at 59E59 Theaters, produced by Prospect Theater Company.
A theoretical physicist may seem odd subject matter for song and dance. Indeed the numbers that are the most tuneful and consequently memorable — such as the spirited Relativity Rag — are those that portray universal feelings. The all too human desire to hold onto a special moment or to feel stuck in an unpleasant one are sensations that are easily translated to a musical language. It is when Lessner and Rosenblum move into storytelling mode that the quality of the lyrics suffers and the piece becomes problematic.
To convert the book — which centers on 30 varied dreams — to a manageable structure for performance, this retelling focuses on a relationship Einstein develops with Josette. The tantalizing and intriguing woman only comes to him when he is asleep. Their conversations supply him with fresh insight and inspiration. Alexandra Silber gives soaring voice to this muse, set off from a sea of earth tone clad players by a fiery red outfit designed by Sidney Shannon. Zal Owen counterbalances Silber’s flamboyance with his sensitive portrayal of a genius with no peers who is bored in his job and troubled by his deteriorating marriage.

l-r- Zal Owen, Vishal Vaidya, Michael McCoy in EINSTEIN’S DREAMS at 59E59 Theater. Photo by Richard Termine
Even this central relationship isn’t given much spark by Cara Reichel’s clunky direction. The biggest contributing factor to the unwieldiness of the work is the wideness of Isabel Mengyuan Le’s dramatic set. While it is eye catching and brilliantly brought to life by David Bengali’s projections (the production element that makes the most of the theatrical medium and the dreamscape environment), it takes up so much of the stage that actors are sometimes forced to scoot awkwardly between sections. Movement contributed by Dax Valdes is often limited to stunted waving of arms while the actors’ feet remain planted.
Of the supporting cast, Brennan Caldwell is a standout, providing comic relief and a blast of humanity as Einstein’s closest friend Besso. Caldwell even manages to make physics sound conversational. The rest of the company members (Talia Cosentino, Stacia Fernandez, Lisa Helmi Johanson, Michael McCoy, Tess Primack, and Vishal Vaidya) move mechanically from scene to scene. Those who play multiple characters struggle to find meaningful differentiation. Thankfully everyone in the cast has a pleasing voice and articulates clearly and the overall sound is comfortably modulated for the space.
The vast concepts that Einstein’s Dreams sets out to explore feel constrained by this production. Yet those who love musicals as a means of expression will find enough here to keep them engaged for the swift 95 minutes of running time. This limited engagement runs through December 15 at 59E59 Theaters (59 East 59th Street, between Park and Madison). Tickets are $25 – $70 ($49 for 59E59 Members) and can be purchased by calling the 59E59 Box Office at 646-892-7999 or
visiting http://www.59e59.org.
Dropping Gumballs on Luke Wilson
On a soundstage, a talented production team is preparing to shoot an AT&T commercial featuring beloved Luke Wilson. The creative concept is to drop red gumballs around the star to symbolize all of Verizon’s dropped calls. Despite a lack of time to test the hastily put-together rig, prop lead Rob is able to toss the small projectiles just shy of Luke’s shoulder and the first few takes go smoothly. Then a case of nerves sets in and a few of the hard objects hit Luke squarely on the head. The actor sees stars; the director —award-winning documentarian Errol Morris — sees excitement and orders the crew to deliberately aim for the performer on the next take.
This is the set-up of the aptly named Dropping Gumballs on Luke Wilson, which is based on true events. Though the Directors Guild of America takes set safety very seriously, sadly there are occasional incidents of a director demanding a dangerous shot, as happened in this case. Rob Ackerman accurately has commercial Assistant Director, Alice, threaten to report Morris to the Guild. The script also provides enough background to realistically make her vulnerable to manipulation. It’s a creative stand-in for any project on which a concerned would-be whistleblower has instead been made complicit through intimidation. If only the playwright had trusted his audience to get his very clear and impactful message. Instead, after a lively and thought-provoking 55 minutes, he burdens the additional 20 with outright lectures on broader issues and political topics ranging from gender discrimination to Nazis. It’s an unnecessary departure from the previous territory that mars an otherwise engaging production.
First time director, famed playwright Theresa Rebeck, does an imaginative job of bringing us deep inside the physical set of the commercial and the mind set of each participant. The results are visually stimulating and often laugh-out-loud funny. The assorted screens that are employed by Morris for playback at the shoot are also used to show us the crew’s previous experiences that have brought them to this critical moment. (Yana Birkukova provides the ideal video design.) The nearly all-white set designed by Christopher and Justin Swader shows off these projections to great effect. Emphasis is achieved by Mary Ellen Stebbin’s well-placed lighting, which often shifts to a befitting green-screen green. The look is completed by the essential craft service table. Costumes designed by Tricia Barsamian will make any production pro feel right at home. All-important clever props are provided by Addison Heeren.
The Cast of Dropping Gumballs on Luke Wilson; Photo by Carol Rosegg
As a former prop person, Rob Ackerman makes the prop man, also named Rob, his spokesperson. George Hampe does a fabulous job of growing increasingly manic as character Rob struggles to remain the voice of reason and the closest thing we get to a hero. With a get-on-with-it gruffness, Dean Nolen is well cast as his boss and seasoned rigger, Ken. Reyna De Courcy is less successful at maintaining an appropriate emotional build in the role of their assistant, Jenny, becoming akin to a cartoon character with jerky motions and high-pitched yelps of displeasure. With enough charm and swagger, Jonathan Sale could easily be Luke Wilson’s deliberately pudgy body double. It’s less easy to know how well David Wohl impersonates Errol Morris. The part is written in one obnoxious note, though the theater vet certainly manifests a typical ego-driven artist. In the toughest role, Ann Harada swings rightly between assuredness and fear as Alice, but she struggles to differentiate the other small parts she takes on in memory and flashback.
Ackerman’s love of television production and those who strive to keep it creative and truthful shines through despite a dip in the ending. It is easy to see why both Luke Wilson and Errol Morris have given the project their blessing. With a little reworking of the last section, Dropping Gumballs on Luke Wilson has the makings of insightful modern satire. Running time is 75 minutes with no intermission. It plays through July 6, 2019, in the Mezzanine Theater at at A.R.T./ New York Theatre (502 W. 53rd Street). Tickets are $25 for union card holders, $30 general admission and $40 for reserved seating. For purchasing and additional information, visit TheWorkingTheater.org or call the Box Office (Ovationtix) at 866.811.4111.