Play Review
'Movin Out' musical hugely satisfying
By Cary Ginell soundthink@aol.com

ROCK BALLET- Drew Heflin is one of an ensemble of dancers who showcase the music of Billy Joel in "Movin' Out," a musical revue that recently played at the Civic Arts Plaza in Thousand Oaks. The show is described as "half concert, half ballet."

In recent years, musical theater has been reversing direction, going back to the preRodgers and Hammerstein era when musical revues dominated and storylines were incidental.

That has been the idea behind the recent wave of socalled "pop-sicals" featuring the music of Abba ("Mamma Mia!"), The Four Seasons ("Jersey Boys"), and the Beach Boys ("Good Vibrations").

"Movin' Out," presented last week at the Thousand Oaks Civic Arts Plaza, is a different kind of musical- a vibrant, engaging and unique show that presents a wide-ranging catalog of songs by Billy Joel.

"Movin' Out" isn't really a "Broadway" musical; it's a blend that is half concert and half ballet. Both elements are presented simultaneously, but separated on the stage in a sort of vertical proscenium: a seven-piece band plays on a full-length balcony above the stage and a ballet is staged on the floor below.

The spare story, explained in a two-paragraph summary in the show's printed program, traces the lives of five friends as they grow from carefree teens in the '50s to suffering the horrific effects of the Vietnam War in the '60s. Each of the show's 24 scenes features the band performing a Joel song or medley, with the dancers acting out the story.

The advantage "Movin' Out" has over other pop musicals is that Joel has always been a vivid storyteller. His songs, when combined with Twyla Tharp's magnificent choreography, make dialog unnecessary for this story. The only words spoken on stage are sharp commands from a drill sergeant in the Vietnam scenes.

"Movin' Out" won Tony Awards in 2003 for both Joel and Tharp for, respectively, best orchestration and best choreography.

There are those who have described the lack of dialog as confusing and vague; however, it is not necessary to explain each of the dancers' movements. Joel's songs communicate the gist of each scene, and through the use of lighting, costumes, and the dance action, the story is clearly and imaginatively told.

The scenes act as visual vignettes, an almost dreamlike representation of Joel's lyrics, which have always reflected his own experiences and attitudes growing up in the '50s and '60s. Joel's orchestrations are often better than those on his recordings. Even the overplayed chestnut "Just the Way You Are" comes off as more meaningful and vibrant. But the best songs are forceful numbers like "Angry Young Man," "Goodnight, Saigon," "Pressure," and "We Didn't Start the Fire" with the dancers brilliantly backlit by banks of colored lights aimed at the audience from the back of the stage.

Although the dancers, especially the remarkable Drew Heflin as Eddie, are all terrific, the center of the show is Matthew Friedman, dubbed the "Piano Man," after Joel's 1974 autobiographical song. Seated at his keyboard at center stage in the balcony, Friedman looks and sounds at times like a cross between Joel and Elton John. But in performing the songs, he stresses that he is not doing an imitation of Joel.

"I would say that only about 10 percent of my performance could be considered 'imitation.' The 'Piano Men' have always been encouraged to integrate themselves into the part as much as possible, while simultaneously keeping to the spirit of Billy's original version."

Friedman leads both groups from his perch, acting like a puppeteer controlling the dancers below with invisible strings, drawing from their energy, urging them on with comments and encouraging yells.

He has a wonderful voice, and is certainly charismatic enough to carry off Joel's distinctive compositions. Friedman grew up on Long Island, two towns away from Joel's hometown of Hicksville, N.Y. Joel was Friedman's idol, the local kid who made it to the big time. With "Movin' Out," Friedman has fulfilled his desire to filter his own talent through the ingenious songs of one of the true legends of pop music.