The Devil You Know

Reviewed by Maureen Lee Lenker
Theatre of Arts/Arena Stage Theatre
Through October 23

The Devil You Know, an original rhythm and blues musical, tells the story of the band Devereaux and their attempts to resurrect their abandoned debut album after the use of their song in a commercial sparks new interest in their music. The narrative is a classic behind-the-scenes tale where questions of artistic integrity and commercial viability come up against a love triangle and the push for musical perfection.

Like so many behind-the-band stories, fictional and real, the conflict stems from personal rivalries, relationship drama, and fragile egos. The show makes winking reference to Fleetwood Mac as acknowledgement of this. As with many a rock band in its infancy, the production is an uneven one that hints at the possibility of evolving into a brighter, more mature work. The book, written by David Carey Foster and Larry Poindexter, relies far too much on musical biopic clichés while the love story is missing any depth of emotion or genuine heartache. The dialogue is often too pat, and the overall story lacks nuance: The arc of the main character involves his journey to learn to say sorry, while the female characters fail to find much of an identity outside their relationship to men.

The production’s greatest assets are Larry Poindexter’s original music and lyrics. The tunes are catchy and for the most part well integrated into the storyline. Like so many “jukebox” musicals, the production primarily relies on numbers that work as performances that take place within the story, with an occasional song marking a foray into a musical fantasy. The tunes are a blend of classic rhythm-and-blues, a healthy dose of rock ‘n roll, and just a smidge of the perky sounds of musical theatre in the vein of Hairspray. It’s fitting that the show’s musical director, Brad Ellis, rose to prominence as Brad the piano player on Glee, as the genre-hopping of the songs aligns well with that show’s aesthetic.

The songs sound, aptly, like the product of a fledgling band. It’s tempting to wonder if they are original or not, so seamlessly do they fit into the gritty world of rhythm-and-blues the ensemble constructs for us. The most effective numbers are those that take place within the flow of the story — particularly the beautiful romantic ballad, “Walk Through Walls,” that makes a powerful reprise in the second act. Numbers with more traditional musical theatre flair, like the bouncy imaginings of “Perfect,” are fun confections, but they feel slightly out of place with the tone of the rest of the show.

The production also makes wise use of a stripped down approach to sets and staging, to enhance the gritty, scrappy nature of its central characters. Instrument and gear cases are wheeled about the stage for use as beds, tables, desks and more, so that the equipment of the characters’ world is used to construct their stage reality. Additionally, the play’s “band members” always perform the music, the quality of their musicianship lending authenticity and credibility to the proceedings. In moments when the storytelling feels clichéd, it’s easy to get lost in their stylish playing, particularly the drumming of James Patrick Stuart and the bass strumming of Bill Watterson.

The production is buoyed by a wonderful supporting cast. Trevon Davis, Harrison Killian-White, and Niles Rivers make up a Motown-inspired Greek chorus which comments on the action in three-part harmony, creating a compelling narrator who lends a much-needed frame to hang the story on. The trio steal the show every time they’re on stage.

Sasha Sloan slays as Devereaux lead singer Rochelle Devereaux, a wronged cabaret singer seeking a second chance at her career and relationship. She imbues Rochelle with a quiet strength and world-weariness that transforms into a powerful rock diva and righteous scorned woman in every musical number she fronts. As eccentric music producer Handsome, Gildart Jackson lends a twinkling Bowie-esque energy to the proceedings, injecting tongue-in-cheek fun to every scene he’s in.

The three background members of Devereaux—Richie (Braxton Molinaro), Mac (James Patrick Stuart), and Preston (Bill Watterson) — steal the limelight from band leader Bobby (Larry Poindexter). They provide deft comic relief and ground the production with their onstage instrumentation. Molinaro is charming and adorable in his second string romance with Bree (Julia Harriman). Stuart and Watterson are not only wry and winning, but their real-life experiences as musicians makes them utterly believable in their roles. Watterson even vaguely resembles Chris Martin of “Coldplay.”

The play’s biggest misstep is casting its writer, Larry Poindexter, as the lead. Poindexter’s music and lyrics make the play truly sing, but his performance as Bobby diminishes his own work — he is perhaps slightly too old for the part (at least in contrast to the women he’s been cast opposite), and his performance lacks the nuance to make Bobby truly likable and someone you want to root for. Instead, we see a man in broad strokes, who isn’t all that forgivable to begin with.

With its catchy tunes and strong supporting cast, The Devil You Know has a lot of entertainment value to offer its audiences. Streamlining the writing, fleshing out some of the characters, and recasting the lead could be truly great.

Theatre of Arts/Arena Stage Theatre, 1625 N. Las Palmas Ave. Hollywood; Thurs.-Sat., 8 p.m., Sun., 6 p.m.; through October 23.^. www.thedevilyouknow.rocks or (323)546.4297. Running time: two hours and 15 minutes with an intermission.