Written by playwright and lyricist Angelica Chéri and directed by Stevie Walker-Webb, the new Broadway musical “Wanted” opened to a dazzling cast that unfortunately cannot elevate the production’s muted narrative.
Variety reported that the musical is inspired by Chéri’s great-great aunts, Mary and Martha Clarke, two Black women in post-emancipation Texas who passed for white and used beauty and guns to save their family land. According to the Kinfolk ensemble guiding the audience, the story begins in 1893 in Marlon, Texas, where sharecroppers Mary and Martha struggle alongside their mother, Tallulah, played by Ledisi.
- The Broadway production features exceptional vocal talent from Ledisi, Liisi LaFontaine, and Solea Pfeiffer.
- The narrative struggles with focus, leaning heavily on a rushed love story rather than an impactful outlaw or passing narrative.
- Scenic design by Beowulf Boritt and video projections by Stefania Bulbarella give the stage historical depth.
After working to buy their ancestral land, the Clarke sisters face racist fury from landowner Mr. Billingsley, played by Nathan Quay Thomas, who demands double their $200 offer.
With little recourse, Mary and Martha set out beyond Marlon using their pale skin to earn money, soon discovering that robbery and intimidation yield cash faster than sharecropping. Armed with their mother’s pistol, Ole Bessie, they become targets before stumbling upon a saloon owned by Jesse Banks, played by Bradley Jaden.
The sources report that Jesse immediately sets his sights on Mary, while Martha is charmed by Elijah, a Black man employed at the saloon. The rebel storyline fizzles as the central plot shifts toward the sisters finding romance rather than exploring their outlaw status or the true cost of passing. Consequently, Mary appears dangerously naive and selfish rather than acting as a hardened criminal.
Despite the narrative shortcomings, the vocal performances remain exceptional. Variety noted that Ledisi, LaFontaine, and Pfeiffer deliver phenomenal vocal work backed by an orchestra led by Paul Byssainthe, Jr. Standout numbers include “Inheritance” and “Mary’s Nightmare,” though other musical numbers and lyrics fail to pack a punch.
| Production Element | Creative Lead | Critical Assessment |
|---|---|---|
| Book and Lyrics | Angelica Chéri | Overstuffed book with muted narrative focus |
| Direction | Stevie Walker-Webb | Strong staging hampered by a rushed love story |
| Scenic Design | Beowulf Boritt | Provided much-needed depth and period texture |
While Beowulf Boritt’s scenic design and Stefania Bulbarella’s video projections establish period texture, the themes of passing have been thoroughly explored in literature and film. Ultimately, Variety concluded that the production works best as a musical album rather than a cohesive Broadway show.
