Had the young British writer Jack Godfrey made up the plot of “42 Balloons,” his new musical with Broadway aspirations now in its North American premiere at Chicago Shakespeare Theater, he’d have been obliged to justify its eccentricity. But a California man who came to be known as “Lawnchair Larry” Walters really did attach 42 helium-filled weather balloons to a Sears lawn chair, take a seat and leave terra firma in 1982, reaching a whopping height of 16,000 feet during his 45-minute flight before popping some balloons with a pellet gun and floating back down to Earth.
The introverted Walter was not some TikTok influencer (he took no pictures and did not inhabit any such gestalt), but an eccentric man who simply wanted to fulfill his lifelong dream of being a pilot.
For those who have not seen other material influenced by Walters’ flight (the movie “Up” being just one example), the veracity of the story gets pointed out at the top of “42 Balloons” by an eight-person ensemble, a self-aware Greek chorus that knows it is in a musical. “This actually happened, you can look it up after the show,” they sing. “And you can tell your friends about it and they can say, ‘That’s pretty crazy, why did you go and see a musical about balloons and what makes a man try to fly in a lawn chair?’”
That’s a good question on many levels, especially since Walters (played by Charlie McCullagh) persuaded his wife, Carol (Evelyn Hoskins, in a dominant performance), and his best pal, Ron (Akron Watson), to fund and back his quixotic quest, despite its obvious risks to life and limb. But it’s also a clever bit of self-protection from the exceedingly smart Godfrey, a newcomer who has written an enjoyable and engaging new musical that strives to see Walters as an everyman with a weird dream — not so different, of course, from the dreams people describe in Tony Award acceptance speeches. His fast-moving, sung-through show (Godfrey penned the whole shooting match) is a quizzical, chirpy, mid-sized musical written for a cast of 12, with an undeniably charming and very British insouciance.
American eccentrics like Walters long have provided material for satirists across the pond. But the difference between “42 Balloons” and, say, “Jerry Springer — The Opera” is that this one has an emotional openness at its core. Godfrey walks a careful line between making musical hay with the strangeness of Walters’ “Candide”-like quest and admiring the guy’s chutzpah and his determination to find his grail, as they say in “Spamalot.” Many of his lyrics are written in narrative rather than dramatic form, allowing his characters to comment on their own actions and motivations (“Suddenly Larry felt a flash in his mind,” Larry sings at one point, and Carol warbles “Carol didn’t really expect this”).
But then Godfrey also knows how to write sharp, funny lyrics. When Carol’s mom, Margaret (the caustic Lisa Howard) makes her first entrance, her song starts with, “When your daughter marries a loser …” It’s funny, because it reflects back exactly what the audience is thinking.
The score is, well, strangely familiar.
There’s a number that recalls “Light My Candle” from “Rent.” Another that sounds like “Everything’s Alright” from “Jesus Christ Superstar.” A third shot me right into the middle of Justin Paul and Benj Pasek’s “Dear Evan Hansen.” A fourth felt like “Come From Away.” And a fifth catchy hook, penned for Carol and beautifully sung by the fabulous Hoskins, kept me awake half the night trying to remember in which show I had heard that particular musical phrase before.
You can hear the strong influence of Tim Minchin, who wrote the score for “Matilda,” as well as other English composers from John Barry to Andrew Lloyd Webber to Willy Russell to Elton John to the Australian songwriter John Farrar, who wrote “Xanadu,” another show you keep hearing. There’s a “Hamilton”-like rap and, unsurprisingly, some harmonics not so different from “Six,” which shares the same commercial producer in Kevin McCollum. At other moments in the orchestrations, you feel like you are listening to ABBA or Electric Light Orchestra or 10cc or the show “Rock of Ages.”
I recount all that not necessarily as pejorative or to say that “42 Balloons” is like a musical Wikipedia (although, come to think of it …). Broadway musicals are an incremental art form and shows quote other scores all the time, and that above list is long enough to suggest intentionality and provide contrasts. But it is especially noticeable here and is part of what makes Godfrey’s score Godfrey’s score. There’s a baked-in familiarity to everything you hear and, while purists will likely demur, I can see regular audiences latching onto its retro, gently satirical comforts. It’s easy on the ears and it also knows that it’s easy on the ears and has fun making fun of the fact that it’s easy on the ears.
The musical ’42 Balloons’ at Chicago Shakes is a producer’s bet on the unknown
By Act 2, I’d decided this was the most jukebox-like musical that was not a jukebox musical I had ever heard. That might well be its secret to success: giving an audience original songs that they will feel like they have enjoyed before. That’s actually far from easy to pull off and, despite the undeniably derivative nature of this theatrical experience, I find myself wanting to go back and hear it again.
Hoskins, a powerhouse British talent, takes the most advantage of the score’s many opportunities. A performer with integrity, McCullagh is laudably committed to honoring his troubled and introverted character, but he still needs to fully find his way to the emotional center of the show. That’s the show’s biggest issue right now.
There’s other work to be done, beginning with a song or two that quote absolutely nothing, although this piece already has been staged in Manchester in the U.K. and it’s performed at a very capable level under director Ellie Coote, another talented newcomer. There’s a hole in Act 1 where Larry needs a song to better explain, like, why he wants to fly in a lawn chair. The Act 2 swirl where post-flight Larry becomes a media curiosity feels underdeveloped. And the show still has to figure out how to logically negotiate both the sadness of the end of this story and its inspirational properties, as musicals always demand. It’s all rushed right now. And, frankly, if it says “42 Balloons” on the marquee, they need to be in the show, not the lobby; the lawn chair alone looks mighty lonely.
Godfrey introduces an original character to this story, called The Kid, a bystander who finds himself inspired in his own life by Walter’s acts. That’s a great device and worth further developing, especially since the fine young performer, Minju Michelle Lee, makes you feel what you need to feel. Walking out the door, I found myself thinking about the ubiquitousness of casual American cruelty, present in the 1980s and, of course, today. Plenty of folks right now would like to ascend into the air and get away. If Godfrey can have fun and tap into that, Walters will seem like the most logical person in the country.
Chris Jones is a Tribune critic.
cjones5@chicagotribune.com
Review: “42 Balloons” (3 stars)
When: Through June 29
Where: The Yard at Chicago Shakespeare Theater on Navy Pier, 800 E. Grand Ave.
Running time: 2 hours, 20 minutes
Tickets: $71-$132 at 312-595-5600 and chicagoshakes.com
The new British writer and composer Jack Godfrey has created a fun show based on the true story of a man who flew in a lawn chair, with songs inspired by earlier musicals.
Had the young British writer Jack Godfrey made up the plot of “42 Balloons,” his new musical with Broadway aspirations now in its North American premiere at Chicago Shakespeare Theater, he’d have been obliged to justify its eccentricity. But a California man who came to be known as “Lawnchair Larry” Walters really did attach 42 helium-filled weather balloons to a Sears lawn chair, take a seat and leave terra firma in 1982, reaching a whopping height of 16,000 feet during his 45-minute flight before popping some balloons with a pellet gun and floating back down to Earth.
The introverted Walter was not some TikTok influencer (he took no pictures and did not inhabit any such gestalt), but an eccentric man who simply wanted to fulfill his lifelong dream of being a pilot.
For those who have not seen other material influenced by Walters’ flight (the movie “Up” being just one example), the veracity of the story gets pointed out at the top of “42 Balloons” by an eight-person ensemble, a self-aware Greek chorus that knows it is in a musical. “This actually happened, you can look it up after the show,” they sing. “And you can tell your friends about it and they can say, ‘That’s pretty crazy, why did you go and see a musical about balloons and what makes a man try to fly in a lawn chair?’”
That’s a good question on many levels, especially since Walters (played by Charlie McCullagh) persuaded his wife, Carol (Evelyn Hoskins, in a dominant performance), and his best pal, Ron (Akron Watson), to fund and back his quixotic quest, despite its obvious risks to life and limb. But it’s also a clever bit of self-protection from the exceedingly smart Godfrey, a newcomer who has written an enjoyable and engaging new musical that strives to see Walters as an everyman with a weird dream — not so different, of course, from the dreams people describe in Tony Award acceptance speeches. His fast-moving, sung-through show (Godfrey penned the whole shooting match) is a quizzical, chirpy, mid-sized musical written for a cast of 12, with an undeniably charming and very British insouciance.
American eccentrics like Walters long have provided material for satirists across the pond. But the difference between “42 Balloons” and, say, “Jerry Springer — The Opera” is that this one has an emotional openness at its core. Godfrey walks a careful line between making musical hay with the strangeness of Walters’ “Candide”-like quest and admiring the guy’s chutzpah and his determination to find his grail, as they say in “Spamalot.” Many of his lyrics are written in narrative rather than dramatic form, allowing his characters to comment on their own actions and motivations (“Suddenly Larry felt a flash in his mind,” Larry sings at one point, and Carol warbles “Carol didn’t really expect this”).
But then Godfrey also knows how to write sharp, funny lyrics. When Carol’s mom, Margaret (the caustic Lisa Howard) makes her first entrance, her song starts with, “When your daughter marries a loser …” It’s funny, because it reflects back exactly what the audience is thinking.
The score is, well, strangely familiar.
There’s a number that recalls “Light My Candle” from “Rent.” Another that sounds like “Everything’s Alright” from “Jesus Christ Superstar.” A third shot me right into the middle of Justin Paul and Benj Pasek’s “Dear Evan Hansen.” A fourth felt like “Come From Away.” And a fifth catchy hook, penned for Carol and beautifully sung by the fabulous Hoskins, kept me awake half the night trying to remember in which show I had heard that particular musical phrase before.
You can hear the strong influence of Tim Minchin, who wrote the score for “Matilda,” as well as other English composers from John Barry to Andrew Lloyd Webber to Willy Russell to Elton John to the Australian songwriter John Farrar, who wrote “Xanadu,” another show you keep hearing. There’s a “Hamilton”-like rap and, unsurprisingly, some harmonics not so different from “Six,” which shares the same commercial producer in Kevin McCollum. At other moments in the orchestrations, you feel like you are listening to ABBA or Electric Light Orchestra or 10cc or the show “Rock of Ages.”
I recount all that not necessarily as pejorative or to say that “42 Balloons” is like a musical Wikipedia (although, come to think of it …). Broadway musicals are an incremental art form and shows quote other scores all the time, and that above list is long enough to suggest intentionality and provide contrasts. But it is especially noticeable here and is part of what makes Godfrey’s score Godfrey’s score. There’s a baked-in familiarity to everything you hear and, while purists will likely demur, I can see regular audiences latching onto its retro, gently satirical comforts. It’s easy on the ears and it also knows that it’s easy on the ears and has fun making fun of the fact that it’s easy on the ears.
The musical ’42 Balloons’ at Chicago Shakes is a producer’s bet on the unknown
By Act 2, I’d decided this was the most jukebox-like musical that was not a jukebox musical I had ever heard. That might well be its secret to success: giving an audience original songs that they will feel like they have enjoyed before. That’s actually far from easy to pull off and, despite the undeniably derivative nature of this theatrical experience, I find myself wanting to go back and hear it again.
Hoskins, a powerhouse British talent, takes the most advantage of the score’s many opportunities. A performer with integrity, McCullagh is laudably committed to honoring his troubled and introverted character, but he still needs to fully find his way to the emotional center of the show. That’s the show’s biggest issue right now.
There’s other work to be done, beginning with a song or two that quote absolutely nothing, although this piece already has been staged in Manchester in the U.K. and it’s performed at a very capable level under director Ellie Coote, another talented newcomer. There’s a hole in Act 1 where Larry needs a song to better explain, like, why he wants to fly in a lawn chair. The Act 2 swirl where post-flight Larry becomes a media curiosity feels underdeveloped. And the show still has to figure out how to logically negotiate both the sadness of the end of this story and its inspirational properties, as musicals always demand. It’s all rushed right now. And, frankly, if it says “42 Balloons” on the marquee, they need to be in the show, not the lobby; the lawn chair alone looks mighty lonely.
Godfrey introduces an original character to this story, called The Kid, a bystander who finds himself inspired in his own life by Walter’s acts. That’s a great device and worth further developing, especially since the fine young performer, Minju Michelle Lee, makes you feel what you need to feel. Walking out the door, I found myself thinking about the ubiquitousness of casual American cruelty, present in the 1980s and, of course, today. Plenty of folks right now would like to ascend into the air and get away. If Godfrey can have fun and tap into that, Walters will seem like the most logical person in the country.
Chris Jones is a Tribune critic.
cjones5@chicagotribune.com
Review: “42 Balloons” (3 stars)
When: Through June 29
Where: The Yard at Chicago Shakespeare Theater on Navy Pier, 800 E. Grand Ave.
Running time: 2 hours, 20 minutes
Tickets: $71-$132 at 312-595-5600 and chicagoshakes.com
RevContent Feed
More in Theater
Discover more from World Byte News
Subscribe to get the latest posts sent to your email.
