Preludes, Lyric Stage Company of Boston, through February 5. 617-585-5678 or lyricstage.com
Sergei Rachmaninoff struggled to create major new work after very negative reception in 1897 for his first symphony (a work now highly regarded and frequently performed). After three years of severe depression and regular therapy in 1900 with physician-amateur musician Nikolai Dahl, the renowned Russian composer-pianist was finally able to complete and perform his now seminal second piano concerto a year later.
Dave Molloy—who demonstrated a fondness for Russian material in his grand Tony Award-nominated Tolstoy-based musical "Natasha, Pierre & the Great Comet of 1812"(2012)— has focused on the composer, his struggle block and his eventual creative triumph in a thoughtful effort entitled "Preludes." While Malloy's show needs more of the musical line possessed by the composer's major works, the Lyric Stage Company of Boston's well-performed and affecting area premiere makes it well worth a hearing.
The musical's somewhat slow opening may have Rachmaninoff fans in particular and theatergoers in general questioning the worthiness of that hearing.
Admittedly, the painstakingly detailed daily work between note-taking therapist Nikolai Dahl and the composer in the early going—reflected especially in the opening number "Your Day"—may seem fairly unproductive. Gradually, though, those sessions bear fruit as the highly self-critical composer comes to terms with his frustrations.
Malloy has two performers portraying the protagonist—one identified as Rach, the emotionally conflicted Russian, and the other as Rachmaninoff—the ultimately acclaimed pianist and composer. Dan Prior has all of Rach's self-doubts and inner turmoil. Talented veteran music director-pianist Dan Rodriguez, performing part of the second piano concerto, finds all of the fire and precision of Rachmaninoff's own playing (heard on vinyl recordings by this critic). Under Courtney O'Connor's sharp direction, Prior and Rodriguez make smooth transitions onstage.
Music buffs will know the show's title as introductory pieces —often for an opera or a suite. Malloy may also want theatergoers to see the hypnotherapy sessions—with Aimee Doherty properly probing as Dahl-- as a kind of preliminary working out of Rachmaninoff's personal issues. Helping the composer immeasurably is his very supportive music teacher cousin and fiancée Natalya Satin (whom he married in 1902)—exuberantly portrayed by songbird-voiced Kayla Shimizu .Shimizu brings glorious high notes to the first act-closing "Natalya."
Less helpful are contacts with such Russian titans as Chekhov, Tchaikovsky and Tolstoy. Chekhov cautions not to "spend our lives worrying about nonsense" and urges the composer to get to work. Tchaikovsky—who speaks of hearing the voice of God—invites Rachmaninoff to drink cognac and sing with him. Tolstoy speaks of the importance of inner rhythm and asks if he works every day. All of this may come across as easy counseling, but versatile veteran actor Will McGarrahan does his very best to bring these very different icons to life.
The most satisfying advice from a famed talent comes in the second act-opening standout musical number "Loop." Here Rachmaninoff's life-long friend and great opera singer Fyodor Chaliapin revolves in a kind of trance dance that calls for the kind of openness to new creativity that the composer truly needs. Anthony Pires, Jr. displays a richly deep register and striking vitality as the renowned bass. Karen Perlow's vivid lighting here complements the high energy of the number. Throughout the musical, Shelley Barish's elegantly spare scenic design helps keep the focus on the composer and his work.
During therapy Rachmaninoff speaks of wanting to visit Mount Kilimanjaro someday. "Preludes" may not reach such heights on stage. Even so, its earnest exploration of Rachmaninoff's personal and creative climb should have all audience members—Rachmaninoff aficionados and newcomers alike—giving well-deserved acknowledgement to the great composer's entire canon.