Passing Strange Passes Not So Strangely to Broadway C. Goodridge, D. Breaker, C. Domingo, Stew and R. N. Jones (Photo: Carol Rosegg) When I reviewed this terrifically enjoyable show downtown (see below), I imagined that, no matter how in need of people like Stew the theater might be, the project was a detour for him. I am guessing it still is, though his journey from California to Amsterdam and Berlin has now taken the theatrical equivalent of the route around Cape Horn. One might think that something would be lost in the transition from the expansiveness of the thrust stage of the Public's Anspacher space to the confines of the Belasco's conventional proscenium, but the opposite is the case. It is just about the only convention to which Stew yields in a show that will displease musical theater purists in ways they hadn't dreamed possible. Yet the farrago of musical styles that Stew employs never shield the deliciousness of his lyrics, a talent which finds rare companions on Broadway or elsewhere. At one point, Stew tells the audience that "at this point in the play we were planning a showtune... But we don't know how to write those kinds of tunes…" The joke, of course, is on anyone who believes him. They may not sound like showtunes, but Stew's clever and effective songs tell stories as well as the best classic showtunes of more classic persuasion. Is the music louder than we might expect in the Broadway enclave? Yes. Is it better than we might expect? That too. In all respects, it rocks. The cast, happily remaining intact from downtown, has become predictably tighter and more expressive, and although Daniel Breaker continues to impress us with his performance, his stage presence now gives his alter ego Stew a real run for his money. The remaining cast also captures our attention repeatedly, though the snippets in which they are seen makes any sort of full development impossible. Which brings us to the dramaturgy, the only complaint I had with the original production. Though there is evidence of a bit of editing and refining along the way, the fundamental flaws continue. We can ride along with Stew and company until the intermission, but the wheels still fall off the narrative cart when we get to Berlin, and even with refinements, the show's ending remains inexplicable and unsatisfying. Basic questions go unanswered, and the show's potential goes unredeemed. It is beyond disappointing that corrabolating director Annie Dorsen has not found the means to correct this. While it certainly does not diminish all that is right with this show, it deprives Passing Strange of the jewel in the crown of its achievement. Credits are same as in original review below, except as noted here: Choreography [previously Movement Coordinator]: Karole Armitage Sound Design: Tom Morse Musicians: Christian Gibbs in lieu of Marc Doten Belasco Theatre, 111 West 44th Street (6/7 Avs) Telephone (212) 239-6200 Opening February 28, 2008, open run TUES @7, WED - SAT @8, WED and SAT @2, SUN @3; $111.50 - $26.50 Last performance7/20/08, after a total of 20 previews and 165 regular performances—and filming by Spike Lee Reviewed by Les Gutman based on 2/24/08 performance

Stew and D. Breaker (Photo: Michal Daniel)

When I did speak of some distressful stroke
That my youth suffered. My story being done,
She gave me for my pains a world of sighs.
She swore, i' faith, 'twas strange, 'twas passing strange;
'Twas pitiful, 'twas wondrous pitiful.