Reviews

Insomnia has creative ideas for songs, good tunes and, most impressive of all, consistently clever and well-crafted lyrics. This is fine work. — Stephen Schwartz, Composer

Charles Bloom is clearly a gifted composer and lyricist. His songs are engaging with emotionally rich melodies and funny, well-crafted lyrics! — NYTheatre.com by Stan Richardson

One of the biggest surprises of the summer isn’t something you’ll find on a stage. Buried on the last page of the program for Insomnia, another entry in the Midtown International Theatre Festival, is the biography for composer/lyricist/librettist Charles Bloom. It begins with the almost-impossible-to-believe revelation that this musical marks his “NYC production debut.”

In that case, I would like to welcome Mr. Bloom and suggest that he takes the advice composer Jerry Herman gave to Dolly Gallagher Levi and “never go away again.” New York musical theatre needs a truly creative and honest voice like Bloom right now. Audiences will only benefit from exposure - of any kind - to his work.

Insomnia, which takes place over the course of a single night as a man tries to conquer his sleeping problems, often seems to be a mixture of Company’s modernity and Sunday in the Park with George’s internal explorations, melding them into a show that is, in its own way, no less sublime or theatrical. The coruscating melodies Bloom provides for songs that alternately slither and soar make Insomnia a show all musical theatre lovers will want to catch while they can.

At the center of it all is Richard Todd Adams as Brad, a gay Hollywood screenwriter who has so intellectualized his life and work that he’s driven himself to sleeplessness. He finally decides to face down the inner demons keeping him awake, which often manifest themselves as people he knows, and effectively exorcise them before the dawn. They include his good friends Clint (James Donegan) and Linda (Cindy Marchionda), father Jack (Charles Karel), prospective boyfriend Dan (Christopher Sloan), eccentric neighbor Sylvia (Lois Hart), and even his un-conceived son Nick (Eric Millegan).

Though this type of story could easily be rendered boring, Mr. Bloom’s writing is so peppy and energetic that being lulled to sleep is never an option. Besides, you might miss a song, or even part of a song of this memorably tuneful and expertly written score.

If the best numbers are usually the large, deceptively complex ensemble songs (like the opening number “Get Ideas” or the infectious “Listen to Me!”), even the more narrowly focused character-driven numbers make a strong impression… and all the songs constantly surprise with their clever spotting and quirky, yet sensible, point of view.

The songs are all expertly delivered, too. Adams must be singled out for the sheer stamina he displays in tackling this vocally and emotionally rangy role that requires he almost never leave the stage; he’s more than up to the challenge, singing beautifully and acting convincingly. The other cast members border on the flawless, many getting a number of moments to shine in solos before seamlessly blending their voices in larger group numbers. Steven Capone’s bedroom-inspired set, Meganne George’s costumes, and Deborah Constantine’s lighting help complete the picture.

The tremendous amount of love and care in Insomnia make it a winner: one of those shows you might well kick yourself for missing later. Could the production be transplanted as is onto a larger Off-Broadway stage with few ill effects? Absolutely. Bloom deserves the time and resources to discover the best that this show is capable of being…

…and if there’s any justice, he’ll get that chance. The New York theatre community is richer for Bloom’s presence and talent, which will hopefully continue to be felt for many years to come.

—Talkin’ Broadway by Matthew Murray

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