Musical Reviews: Movin’ Out

Billy Joel is one of the most talented story tellers in the music industry.  His work is completely original and self reflecting from his rock-legend rasp, everyman lyrics and technical genius in composition.  He is a master pianist, classically trained and his social themes speak to crowds of spectators looking for answers and direction in life.  He is quoted as saying; “As human beings, we need to know that we are not alone, that we are not crazy or completely out of our minds, that there are other people out there who feel as we do, live as we do, love as we do, who are like us,” and this seems to sum up his motivations and ideals in the production of his records and now in the dramatisation of the musical ‘Movin’ Out’.

‘Movin’ Out’ is a concept song with a familiar story of a man struggling to make his name in the world amidst the constraints of economy, class and capitalism and explores how these issues effect the ‘average Joe’ and his passions and desires.  This, along with some of the most loved tunes penned by Joel, makes up the score sheet for this musical with a twist.  The production has an unusual, surrealist edge as the curtain reveals an elevated orchestra and solo singer, vocalising and mimicking Joel’s street kid roots, and providing a backing track to the visual aspect of the show.  Billy Joel’s songs are linked together to form an adhesive plot-line through non-vocal actors and dancers who dramatise the lyrics like a feature length music video.

Audiences should be warned that the production contains adult themes and also strobe lighting.  The imagery is unapologetically raw and undiluted from the licentious scene of character’s losing themselves in an alcoholic daze and in pliant, willing bodies inspired by ‘Captain Jack’ to the disturbing psychological effects of war in ‘Goodnight Saigon’.

Billy Joel grew up in a restless, industrial and war-torn age and provided a voice for the people through evocative and passionate music.  He has become an iconic legend in the industry and received many acclamations and awards for his skills.  For those not familiar with his music, the lyrics of ‘The Ballad of Billy the Kid’ are autobiographical,

“From a town known as Oyster Bay, Long Island
Rode a boy with a six-pack in his hand
And his daring life of crime
Made him a legend in his time
East and west of the Rio Grande”

This musical follows a very personal and volatile plot as the audience follow the lives of a group of friends from Long Island, from high school simplicity and innocence to wartime Vietnam when the protagonists enlist in the draft and head out, gung-ho for glory and their patriotic duty.  The before and after story and the effects on the personal relationships in the show, from romantic idylls to grief and loss, are poignantly and powerfully narrated through choreography (thus it can be a little confusing if you don’t have a quick read at the synopsis.) 

The songs include the favourites, Uptown Girl, We Didn’t Start the Fire, She’s got a way, Longest Time, Big Shot and Innocent Man.  The contemporary ‘rock ballet’ style of dancing is extremely impressive and captivating, infused with passion and emotion that displays the inner psyche of the characters in a way that simple words could never do. 

The focus of the audience is somewhat confused as it is torn between watching the vocal and instrumental talents of the band like at a rock concert and witnessing the dynamic movement below and viewing the score simply as the narrative medium that inspires the dancing and drama. 

The grungy and disparate feel of the set design and rhythm of the bass beat is both unsettling and exhilarating and the unusual structure tends to addle the brain into analysing the message and morality of the show in its entirety ‘big picture’ sense instead of having a leading focus on a particular actor or singer.  It is almost Brechtian in this respect and highlights the effect of outsider’s looking in, like a documentary in a giant aquarium.  It is book marking a certain era of history but also reaching out through the popular and familiar music and its relatable lyrics. 

Most audience members will be fans of Billy Joel and already well versed in his songs and so come with a background knowledge and idea of what they expect to see and experience.  In some ways the production twists these expectations and flips them, going further, more graphic, more uninhibited than imagined and thus revitalises and shakes up the meaning of songs that may have lost their impact on old ears.

In conclusion ‘Movin’ Out’ is a great and transitionary show that questions the rules of theatre as well as life and therefore is an interesting and new perspective on the use of music and space but if you come wanting to see a doe-eyed, cliché, classical musical you will be disappointed.  This production is much less for Broadway musical lovers as it is for the underground rock scene and delinquent youth!  If you enjoy great music, vocal talents and impassioned, technical choreography and can join these up without a cohesive, normal, narrative structure then you will find this scintillating and well worth the visit.