by Stuart Munro
This seems so obvious that I’m ashamed to admit I didn’t see it coming.
Karen and Derek are teaming up to help Jimmy and Kyle get a version of Hit List ready for a winter F ring festival in NYC in two weeks. At the boys’ place, Karen is a little shocked to find that Jimmy has another girl over. Nonetheless, she gathers a group of her friends to come over and read through the first act of the fledgling show. It turns out that Jimmy’s music is brilliant, but that Kyle’s script is . . . not. So. In order to be ready for Fringe, they opt to cut the dialogue and turn Hit List into a rock opera. This seems so obvious that I’m ashamed to admit I didn’t see it coming.
Meanwhile, over at the Belasco Theatre, Tom is onstage imagining a new number for the opening of Act II. The transition is a tad clumsy (and it’s clearly just an excuse for a performance), but the tune is fun, if not especially clever. Julia and dramaturg Peter arrive with their new draft which is, apparently, amazing, and it’s becoming clearer and clearer that the two are getting on just a little too well. Everyone heads over to new-producer Jerry’s office for the read through of the script. It just so happens that the new Bombshell is in fact brilliant. So brilliant that Jerry compares it to Follies, Ragtime, and Sunday in the Park with George. But therein lies the problem. It’s too good. It’ll win awards, but fail to get an audience. So he plans to use the workshop version from seven months ago, given to him by Tom (!). So a decision has to be made. Do they use the older, flashier Marilyn, or the newer, layered one? The deciding vote belongs to Eileen, despite the fact that she’s legally required not to be dealing with the show at all. And what does she decide . . ?