SEE IT: The tragic and riveting “Swept Away” is a ship-shape triumph
Last weekend, there was a frightening electrical malfunction at my house that could’ve been disastrous had I not been there to cut the power. An electrician attempted to fix this issue, but could not completely until the next day. This was the first day without lights or heat. By the time the power was restored the following evening, all of the food in the refrigerator and freezers had thawed and needed to be thrown out. Despite the lights being on, the electrical issue damaged a part of the furnace. A second night without heat. Then a third. Then a fourth until a replacement part was installed at last. The interior temperature of my house had gone down into the mid-40s. Thankfully I got to spend the coldest night this week warm in the theatre, watching Arena Stage’s Swept Away.
Why do I bring this up? This entire week, every part of my exhausted being was solely focused on getting through this hard time, despite matters being out of my control. For those that have experienced hardship on any scale, you understand that visceral, all-consuming determination to just hang on. In Swept Away’s harrowing tale of disaster, four men are lost at sea, giving their all to hang onto their beliefs, their loves, and their lives. For the entirety of its 90 minutes, I was gripped by its stunningly distilled storytelling, conveying the desperate perseverance of the human spirit with immense emotional resonance. Proving the months of hype to be worthy, Arena Stage’s Swept Away is a musical that subverts all expectations with refreshingly refined artistry of the highest caliber.
Let’s set the scene: On its final voyage after being sold for parts, a whaling ship sets sail off the coast New Bedford, Massachusetts with two unexpected additional passengers: the thrill-seeking Little Brother (Adrian Blake Enscoe) and his frustrated, protective Big Brother (Stark Sands). The ship’s crew and their Captain (Wayne Duvall) are assuaged by the Mate (John Gallagher, Jr.) to let the young men join them. When a violent storm sinks the ship, the four men are the only ones to survive on a small lifeboat. Without food, fresh water, or land in sight, the men must do whatever it takes to stay alive until they are saved.
This is perhaps the most impressively surprising jukebox musical I have ever seen. While some are sufficiently entertaining, I find that most are artistically lacking in their concept or narrative. With Swept Away, playwright John Logan has intimately constructed a story with the Avett Brothers’ discography that feels organically cohesive. His book has tapped into the entrancing, understated beauty of their folk-rock music, complimenting the songs’ subtle storytelling. I realized partly through that I did not know any of the character’s names, but I did know their hearts and motivations, which I consider a far superior observation. The musical’s disciplined narrative scope achieves a profound depth of feeling that excessive plot details frequently inhibit.
Director Michael Mayer’s vision for this production displays admirable creative restraint, elevating the piece to greater artistic impact. The staging and the union of design elements allow the characters and beautifully tragic story to shine. There is no creatively indulgent excess to be found. The blocking, along with David Neumann’s choreography, has a compelling realistic ease. (Only the “Ain’t No Man” number briefly dips its toe into “A Pirate’s Life for Me” energy.) Rachel Hauck’s scenic design is brilliantly streamlined and conceptual, with a mid-show transformation that took my breath away. I especially enjoyed that the back of the stage was kept bare and black, which could have easily been plastered with projections of the sea and more. Allowing the actors and the music to tell the story was the production’s best decision. Susan Hilferty’s warm, earth-toned costuming handsomely contrasted the cool lighting of the sea. During the climatic storm, Kevin Adams’ lighting and John Silver’s sound created a dazzlingly terrifying environment that I would pay to experience again. The added effect of blowing wind onto the audience further transported me into the peril. During the musical’s second half on the lifeboat, the isolation and hopelessness was beautifully conveyed with restrained, intentional design. The atmosphere and the visceral, emotional response within me that this creative team was able to achieve deserves endless praise.
This musical requires acting of significant nuance and depth to sustain its emotional cargo, and this cast is more than equipped. Their talents in singing, dancing, and acting are sincere, layered, and substantial. John Gallagher, Jr. is delightfully witty and slaphappy as the Mate. His performance transformed magnificently as desperation consumed him. Adrian Blake Enscoe’s performance as Little Brother was fueled with youthful passion and charm, and to witness the adventure he sought for fall apart was devastating. Stark Sands was mesmerizingly earnest and pained as Big Brother. His deeply emotional performance broke my heart repeatedly. As the Captain, Wayne Duvall’s descent from confidence to despair spoke volumes even without words. The supporting ensemble energized the life on deck with incredible detail and agility. This cast was clearly the best of the best, and they each gave stellar performances.
I hope this production will be brought to Broadway to show how original, creative, and emotionally sophisticated a jukebox musical could be. I was completely invested the entire time, experiencing a range of surprise, heartbreak, and anxiety with each passing moment. I’m usually stingy with my standing ovations, but I was on my feet as soon as was acceptable. It is my UnProfessional Opinion that you SEE Swept Away — and it is UnProfessionally Recommended!
Swept Away
Book by John Logan
Music and Lyrics by The Avett Brothers
Choreographed by David Neumann
Directed by Michael Mayer
Arena Stage
Nov 25, 2023 — Jan 14, 2024
