My Review of Off-Broadway's 'Walk on Through' Starring Gavin Creel

The show: “Walk on Through: Confessions of a Museum Novice” at Manhattan Class Company.

What makes it special?: Tony Award-winner Gavin Creel (“Hello, Dolly!” “Thoroughly Modern Millie”) creates a new, not-quite-solo show in which he has also written the music and lyrics. It’s an extraordinary performance and production — and it has my favorite score of the season. It’s also on the top of my list for the best NYC shows of the year.

What’s it about?: Creel finds himself experiencing a mid-life crisis and finds himself at New York’s Metropolitan Museum of Art for the first time. (It is on the Upper East Side, after all.) He has always been intimidated by museums in general anyway and especially this hallowed institution, but in this “walk on through” journey he surprisingly finds solace, connections, mystery, celebration — and understanding of himself.

So what’s your take on it?: I first saw the show as a workshop production at the Eugene O’Neill Theater Center in Waterford, Ct. two years ago and was greatly impressed by Creel’s private/public work. I knew he was a compelling, versatile and clever performer. (I had just seen his hysterical turn in the Broadway revival of “Into the Woods.”) But I didn’t know he was such an accomplished songwriter. I was also deeply affected by his personal journey in the show and found myself drawn to the interiority of the work.

Meaning?: In the show he explains how throughout his life that museums were just not his thing, not having the best art education growing up in the mid-West — and being mainly a musical theater person. That’s something in which I, and a lot of other people I imagine, can identify. It’s a feeling that perhaps we’re not intellectual or sophisticated or (most unnerving) not sensitive enough to appreciate the great art of civilizations inside those stately walls.

But he takes a deep breath, looks and this dreamy docent discovers something in these works that deeply reflect on his life: haunted by a difficult break-up as he grapples with his own career, passions and faith. As he — and the audience — view individual works of art, he not only becomes lost (and found) in these pieces but sometimes those figures in the artwork (or those who created them) speak to him in much more personal ways. In the song “Scattered,” he views Jackson Pollock’s “Autumn Rhythm Number 30,” and senses that it echoes his own creative chaos. Later he finds there could be differing interpretations in art, too, as he discovers standing beside another museum-goer (a terrific Ryan Vasquez) as they both view Edward Hopper’s “From Williamsburg Bridge.”

Creel is generous with other performers too with Vasquez impressing in multiple scenes with a sterling voice and heartfelt interpretations as Creel’s ex. (He’s going to be starring in “The Notebook” later this season.)

There’s also a killer song sung by Sasha Allen, as Judith from Lucas Cranach the Elder’s 1“Judith with the Head of Holofernes” that’s an off stand-alone segment, but welcome for the powerful performance. Musicians Chris Peters (of New Haven) and music director Madeline Benson also have a lovely moments in “What Is This?,” off of Pierre-Auguste Cot’s painting “The Storm.” (Scott Wasserman and Corey Rawls make up the rest of the very fine musical and instrumental ensemble.

The range of Creel’s languahe-rich, pop-centric songs is wide. In the song “Hands on You,” Creel is so swept up in the eroticism of the Met’s male sculptures that he can’t contain himself. He ends the show with epic sweep as he finally faces religious paintings and icons, principally with Albrecht Dürer’s “Salvator Mundi” in the bittersweet song, “Unfinished World.”

There’s a section that deals with the emptiness of the pandemic which takes Creel to darker places where the absence of art is most deeply felt. Though this section seems a bit lost (his point, I imagine) the show re-engages when Creel finally returns when the museum reopens and he finds himself at a place in which he now feels right at home.

The production is dynamically staged by Linda Goodrich, with David Bengalis’ varied artful (in every sense of the word) projections being central to the show. I. Javier Ameijeiras creates an array of levels, every inch of which the energetic and imaginative Creel uses to maximum effect. Jiyoun Chang’s lighting is stunning, haunting and sublime.

Just as museum pieces are interpreted in different ways, I think this show will connect with people in different ways, too: some will be affected personally and perhaps even profoundly; some might simply see it as beguiling entertainment swept up by a charismatic performer;, and perhaps others will react unenthusiastically, even dismissively. That’s what great art does, after all.

For the kids?: Older kids should definitely catch this show. It could very much change how they view art — and themselves.

Thoughts on leaving the parking lot: I can’t wait until there’s a recording of the rhythmic, infectious and moving score. And I hope its accompanied by the worlds of art, too, doubling down on the power of the piece.

Info: The show runs through Jan. 7 at the Manhattan Class Compa y at 511 W. 52nd St. , West of 10th Avenue. mcctheater.org . Box office at 646-506-9393