A Review
The Algorhythms hurtles you headlong into an absurdly delightful apocalypse as three middle‑aged math teachers/boy band hopefuls are holed up in a claustrophobic recording studio just as Martian ships descend and unleash a sonic contagion that turns people into bloodthirsty maniacs.
Creative Team
Opening on May 5 at The Magnet Theater as part of its inaugural Monday Night Musicals series, The Algorhythms is running in rep with another sci-fi musical through June 16. The creative team is well-known at The Magnet and in the improv and musical theatre scene. Justin Moran who wrote the book and lyrics is probably best known for The Spidey Project (now known as Peter, Who?), which was a response to the infamous Spider-Man musical on Broadway. I actually saw The Spidey Project back in 2011 (as well as the official Broadway show) and I will be discussing them both in a separate blog soon. Justin Moran’s sharp, clever book and lyrics blend meta‑theatrical wit with genuine emotional stakes, while composer‑performer Travis Nilan supplies a score that collides pop-rock grooves with sci‑fi suspense. His music is featured in films like Sisters with Tina Fey and Amy Poehler, and his voice can be heard in a duet with Steven Tyler in a CBS Super Bowl commercial.
Moran co‑directs alongside Louis Kornfeld (Second City alum and The Truth podcast contributor), whose expert sense of pacing keeps every twist taut, while Sarah Bricker’s kinetic choreography turns air vents into carnival rides. Sarah Bricker recently got her dual MFA/MA degrees in dance performance and education from NYU (my alma mater). She has worked at the Mary McDowell Friends School where she taught choreography to neurodiverse students for musicals like The Addams Family and Godspell.
Plot Summary
Just before the show proper begins, a spotlight snaps on a 1960s‑style radio, its crackling warning of an alien invasion cut short when a janitor whisks it away. As the lights rise on a modern music studio, three middle-aged men in shiny silver track suits begin to dance and sing into a microphone. We quickly discover that they are a “boy band” rehearsing for their recording session as they wait for the engineer to arrive. The engineer calls. He’s running late, but he begs them not to record without him. Heinrich threatens to quit, but is convinced to stay. Pip talks about his experience with cartels. And Slade tries to encourage them all not to give up, and that even though they are middle-aged math teachers, they are on the verge of their big break because their song is about to be played on the radio.
Suddenly, their opportunistic manager Bruce then barges in, ready to exploit their new fame, just as the janitor returns with the radio. But before their new song starts to play, the announcer reveals that Martian ships have landed, and their sonic waves are turning people into killers. They warn everyone to barricade themselves inside. Trapped in a claustrophobic booth and eyeing Bruce’s suspicious timing. Could he be infected? He was also snorting a lot of cocaine…and now he’s got a gun? The band must concoct a musical and mathematical countermeasure to save themselves and the world. I won’t spoil the rest, but I will say there are quite a few great twists and turns that make for great laughs and fantastic storytelling.
Music
The show’s score is irresistibly poppy, kicking off with the title number “The Algorhythms,” a delightfully clever theme that perfectly sets up its world and characters. The dance moves are very Motown meets Mars. Another great song “40 is 20 x 2” captures the heart of these middle‑aged math teachers-turned–aspiring rock stars, brimming with pun‑laden lyrics and earnest bravado. And the energy stays sky‑high, especially during the side‑splitting “Danger in the Air…Vents.” I can already imagine a big‑budget staging of this number with ropes and flies because every beat of this score begs to be amplified.
Performances
Travis Nilan, who not only composes the show’s infectious score but also anchors it as the lovable, fragile, and overly polite Pip. Michael Lutton plays Heinrich who is German and often angrily opines about bombs exploding–very Herzog-esque. Michael is a formidable performer which is no surprise considering that he is also the Artistic Director of the Magnet Theater. Uton Onyejekwe channels his real‑life experience as a university professor into Slade’s smooth, ambitious leadership, bringing both gravitas and warmth to every scene. Jon Bander, the coiled menace behind manager Bruce’s cocaine‑fueled entrance, has appeared in Netflix favorites like Master Of None and Unbreakable Kimmy Schmidt. Chris Evan Simpson, who splits his time between the jittery engineer and the spooky janitor, mostly likely honed his versatility working with the Story Pirates and his turn in the Off‑Broadway hit Puffs.
In addition to the on-stage cast, there were some voice-actors for the radio show. Rob Cuthill plays the radio host Donovan Black with classic style. He is best known for his work on Days of Our Lives. Elena Fishbein plays the woman on the street. She gets to let us know what’s really going on. She is also a member of the Story Pirates and has worked with Justin on previous projects. And finally, Greg Kotis cameos as the National Guard. Greg is best known as the writer of Urinetown (a show that I will of course be featuring on this blog at some point). And I should note that he is the writer of the other show, The End of All Flesh, that is in rep with this one on Monday nights.
Design
The set is simple and clear. A sturdy door to keep the Martians and killer humans at bay and a single booth window that becomes a claustrophobic portal when the band is trapped. My favorite set dressing is the vinyl records hanging on the back wall. I didn’t check them out closely, but I’d like to believe there is some hidden message in there. The lights and sound effects were simple and effective. Over its brisk one‑hour runtime, the tone and pacing hit just right, blending campy thrills with genuine suspense as the audience laughs through catchy songs, inventive choreography, and heart‑pounding twists. At its core, it’s a cautionary tale about friendship, trust, and the danger of jumping to conclusions as the world literally falls apart.
Summary
Running in rep with another sci‑fi musical by Greg Kotis through June 16 at the Magnet Theater, this hour‑long thrill ride proves that even when the world is ending, music and math can save the day. The Algorhythms is everything a great sci‑fi musical should be–funny, silly, scary, campy, and above all, big‑hearted. So if you’re in New York before June 16, do yourself a favor: grab a ticket and support bold new sci-fi musical theater.
Info
- The Algorhythms
- Directed by Louis Kornfeld and Justin Moran, with choreography by Sarah Bricker. Book and lyrics by Justin Moran, music by Travis Nilan, and additional material by Jonathan Roufaeal. Produced by Compass Theatrical
- Mondays 6/2, 6/9, & 6/16 @ 8:00pm
- Magnet Theater – 254 W 29th St, NYC
- Tickets $25 – Buy here: https://magnettheater.com/show/59249/