By Gina Hall
In an era when many major musicals are based on Hollywood movies and re-imagined 30-year-old pop libraries, the new musical Venice, premiering at the Kirk Douglas Theater in Culver City, is daring to be that riskiest of ventures – an original. Venice is set in a not-too-distant future as two brothers clash over how to save their city in the aftermath of a 20-year war. One seeks peace while the other attempts to seize power by keeping the city mired in violence.
Collaborators Matt Sax, who wrote the music and lyrics, and director Eric Rosen, who wrote the book and lyrics, worked together previously on Sax’s acclaimed hip-hop solo show, Clay, and were approached by Los Angeles’s Centre Theater Group (CTG) to develop a new project. The two were initially interested in basing their project off of Shakespeare’s Othello, but as they started to workshop material the story of Venice took on a life of its own. The result was workshopped at the Kansas City Repertory Theatre and prompted Time magazine’s Richard Zoglin to say the “next major American musical could be well in the making … Venice [is an] ambitious and expansive work, combining the elements of Shakespeare, Greek tragedy, Brechtian allegory and dystopian political fable, all enhanced by rap narration and a melodic, rock-influenced score.”
Sax and Rosen emphasize the timeless nature of the story, but Sax also notes that because of the show‘s political angle, “every single day informs the show, as time goes on it feels more and more relevant.” Rosen agrees and states that its “contemporary and of the moment. It’s a tragedy, it’s emotional. It’s the full experience.” And when confronted with the notion that other musicals premiering in this decade are based on established names and properties, Rosen asserts, “It [Venice] doesn’t want to be a TV show or a movie, it’s a theatrical experience.” If that sounds like a risky venture, Sax assures “it’s not worth doing if you’re not taking risks.”
On the subject of risks, Sax admits he had never written a musical before and that it was an intimidating prospect. The CTG offered him the ability to conduct four separate workshops with actors. He said the opportunity was a “huge luxury,” adding, “I don’t think we could have done it any other way. Without the Center Theater Group’s support, it would not have happened. They are incredibly hands-on and allow us to explore … they’re amazing with artists.”
Venice brought many of its cast members from the Kansas City production, including its star, Javier Munoz, who plays Venice Monroe. Munoz recalls that it was the first time he was given an offer without a callback.
“It’s the most demanding role I’ve done,” says the actor who won the 2007 Drama Desk Award for the role of Usnavi in In the Heights. “It’s a small cast and I’m in every number except for one. Everyone is supporting each other vocally … I’m pretty wiped out by the end of the show. It asks me to go to some darker places, but it’s beautiful, poignant and very satisfying for the audience.”
Though Munoz may be emotionally taxed each evening, he’s especially proud to be part of the show. “In this business, it’s difficult to find pieces that speak to everyone. This cast is so diverse. Their work is not specific to any identity. Anyone who sees the show will connect,” he says.
All involved seem to be particularly thrilled to be premiering the show at the Kirk Douglas Theater and feel that Culver City is their second home. “We imagined the show in this space since its inception,” declares Sax.
Munoz, who doesn’t drive, loves the venue and the surrounding Culver City area. “It’s a really cool town … I love the diversity. I love the intimacy of this theater for this story. The audience is right there.”
Venice opens on Sunday Oct. 17 and will run through Nov. 14.
