Intro
As we explore the world of sci-fi musicals, we often encounter stories that blend the nostalgic with the futuristic, weaving complex narratives that challenge our understanding of time and identity. One such tale is Time and Again, a musical adaptation of Jack Finney’s celebrated novel of the same name, which mixes time travel with historical romance.
Featured Musical: Time and Again
Time and Again is based on Jack Finney’s 1970 novel. The story was adapted into a musical with music and lyrics by Walter Edgar “Skip” Kennon and a book by Jack Viertel. It explores the possibilities of time travel, along with the intrigue of a murder mystery and a multiversal love triangle. The show was in development for almost ten years before it landed in New York in early 2001 at Manhattan Theatre Club’s intimate City Center Stage II.
Plot Summary
The musical follows Simon Morley, a discontented artist-turned-advertising executive whose latest campaign for a perfume called “Nostalgia” features his painting of a 19th-century woman. His girlfriend Kate, also at the ad agency, doesn’t understand his lack of enthusiasm. Simon’s life changes when a mysterious man offers him a chance to travel back in time through self-hypnosis. In 1882, Simon meets Julia Charbonneau, the woman in his painting and an outspoken suffragette engaged to the villainous Jake Pickering. Simon uncovers Jake’s blackmail plot, but a fire kills Jake and implicates Simon and Julia. They escape to the Statue of Liberty’s torch, which exists in both timelines, and travel to the future. Julia and Kate meet, and Kate graciously helps Julia before stepping aside. Julia returns to 1882, and Simon chooses to stay with her, leaving the future behind.
Old Globe vs NYC productions
The first major production of Time and Again premiered in 1996 at San Diego’s Old Globe Theatre and underwent extensive rewrites before reaching New York. Reviewer Ken Mandelbaum notes that while the new show “retains the central time travel theme, the blackmail plot, and other elements from the novel, it features what is in many respects a new story that deviates sharply from the source.” Initially, Simon’s time travel was driven by a mysterious letter. However, in the revised version, he is compelled to go back when Dr. Danziger shows him a portrait of the woman in his ad, sketched by Simon’s past self. Though the letter still plays a role, Simon now passively reacts to the world around him. He follows Dr. Danziger’s advice to be like “a twig in the river.” The new version also focuses more on social issues with Julia becoming a strong advocate for women’s suffrage.
Differences with the Novel
Many critics of the musical take issue with its departure from the original story. While adapting a 300-page novel into a stage musical can be challenging, some find Simon’s motivation for time travel unclear. Laurie Winer of the Los Angeles Times observes, “The book’s Si decides to go back to solve a mystery that haunts his girlfriend Kate. In the musical, Si goes back because he is bored. Kate is promoted to his fiancée, which makes his abandonment of her, on the eve of their engagement party, no less, an obstacle in liking him.” The sci-fi elements take a backseat to Simon’s fixation on Julia. At one point, Simon claims he can’t stay in the past because he must save the world. Yet, he reappears in the past for his happy ending with Julia–space-time continuum be damned.
The Music
The score in the MTC version was arranged for and performed with two pianos. Some may argue that a fuller orchestration might have better suited the operatic vocals required of several principal roles. Several songs from the Old Globe production were cut, with three or four new additions.
Key Songs
- “Time and Again”: The title song reflects Simon’s fascination with time travel and his inner conflict. It underscores the recurring nature of history and Simon’s struggle between his old life and the new world he’s discovering in 1882.
- “Who Are You Anyway“: This duet between Julia and Kate highlights the complexities of the cross-time love triangle. It contrasts their different perspectives, as both women question Simon’s intentions and divided loyalties.
- “She Dies”: In this solo, Simon reflects on Julia’s inevitable death before his own birth. The song explores his growing feelings for her while acknowledging the impossible distance time creates.
- “The Lady in the Harbor”: Julia’s anthem reveals her passion for bringing the Statue of Liberty to New York and her fight for women’s suffrage. The song transforms her into a determined advocate for social justice. It replaced the earlier “Fairy Tale Life” with a stronger, more assertive declaration of her ideals.
Characters & Performances
Main Characters
- Simon Morley: The protagonist, whose journey through time is driven by curiosity but becomes deeply personal.
- Julia: A resident of 1880s New York, whose charm and intelligence challenge Simon’s understanding of his place in time.
- Kate: Simon’s modern girlfriend who gets left behind in pursuit of his destiny with Julia.
- Danziger: The government scientist overseeing the time travel project, representing the modern scientific ambitions and ethical questions involved.
Performances
Actors in Time and Again must convincingly portray characters deeply rooted in their respective time periods yet remain relatable to modern audiences. In the 1996 production, Rebecca Luker and Howard McGillin played the lead roles. However, by the time the show was headed to New York—after years of delays, a new director, and rewrites—Luker was busy with The Sound of Music and The Music Man. Meanwhile, McGillin was making history as the longest-running Phantom in The Phantom of the Opera. Fortunately, Luker’s understudy for Maria Von Trapp, a young and talented 21-year-old Laura Benanti, stepped into the role of Julia Charbonneau. Lewis Cleale took over as the handsome Si Morley, and Julia Murney perfectly captured the role of Simon’s jaded yet kindhearted fiancée, Kate.
Visual & Special Effects
One of the most noticeable differences between the Old Globe production and the MTC show was the scale. In San Diego, director Jack O’Brien had a larger stage, allowing for grander sets, a bigger cast, and a more awe-inspiring portrayal of the protagonist’s time-travel journey. In contrast, the New York production, directed by Susan Schulman, was in a more intimate space, where the set, costumes, and design could be more closely scrutinized, making it harder to create the same magic. Derek McLane’s set used white brick and marble flooring to smoothly transition between 1882 and the present. Meticulously crafted costumes by Catherine Zuber added authenticity. Ken Billington’s visual effects, including projections and lighting, helped signify time shifts and enhanced the story’s emotional depth. Both productions featured notable choreography, with Kathleen Marshall for the Old Globe and Rob Ashford for the New York run.
Cultural Impact
Though not as widely known as mainstream musicals, Time and Again offers a distinctive narrative that appeals to fans of both science fiction and romance. The musical adds to the genre by blending the concept of time travel with the emotional depth of musical theater. The risks taken by the production undoubtedly paved the way for other time-travel musicals like Somewhere in Time and Back to the Future. However, despite years of development and multiple rewrites, the New York production lacked the scale such a story demands. Ultimately, it didn’t gain enough momentum to achieve mainstream success.
Fun Facts & Trivia
The adaptation of a popular novel to a musical format presents unique challenges. It is particularly difficult to balance the scientific aspects of time travel with the emotional narrative of Simon and Julia’s romance.
Movie Rights
For years, Robert Redford held the film rights to the property, with plans to star as Simon Morley. Early attempts to push the project forward were hindered by budget concerns, creative differences, and the release of similar films like Back to the Future. Many fans of the book have wondered why it has taken so long to adapt it for the screen. This is a fair question considering that six of Jack Finney’s other works, including Invasion of the Body Snatchers, have been turned into films.
Jack Viertel
Jack Viertel is an American theatrical producer and writer who served as Creative Director and Senior Vice President at Jujamcyn Theaters for 34 years. He conceived Smokey Joe’s Cafe, the longest-running musical revue in Broadway history. He also conceived The Prom, which became a Tony Award-nominated musical and later a Netflix film starring Meryl Streep. From 2000 to 2020, Viertel was a producer for the Encores! series, during which several productions successfully transferred to Broadway. In 2003, he began lecturing at New York University’s Tisch School of the Arts. His music theater course content later became the basis for one of my favorite books, The Secret Life of the American Musical.
Skip Kennon
Skip Kennon (also known as Walter Edgar Kennon) is a composer, lyricist, musician, and teacher, primarily known for his work in musical theater. Kennon has moderated the BMI-Lehman Engel Musical Theatre Workshop and taught at the Neighborhood Playhouse for many years. His theater credits include composing for Herringbone, The Last Starfighter, Blanco, and Feathertop. Kennon also served as a classical music critic for the Hollywood Reporter for five years and is currently based in Manhattan.
Personal Reflection
Time and Again is a compelling example of how science fiction and musical theater can merge to explore deep questions. The production took a bold risk by focusing more on the love story than on the sci-fi elements. I personally would have liked to see a deeper dive into the time-travel concept. However, given the constraints of a smaller production and the need to appeal to a broader audience, I understand and respect the creative choice to emphasize the emotional journey of the characters. Their willingness to push genre boundaries deserves admiration. They paved the way for more ambitious productions to further explore the intersection of sci-fi and musical theater.
Up Next
And speaking of time travel…Get ready to rev up your DeLorean and hit 88 mph with Back to the Future: The Musical! This electrifying stage adaptation of the iconic 1985 film takes you on a journey through time with Marty McFly and Doc Brown. Packed with high-energy performances, spectacular effects, and a rock-and-roll soundtrack, this musical brings the past, present, and future to life. Join us as we revisit Hill Valley and experience the unforgettable adventure of time travel with a musical twist!
References
- Finkle, David. “Time and Again,” Theatermania, Jan 31, 2001. http://www.davidmccallumfansonline.com/Time%20and%20Again.htm
- Isherwood, Charles. “Time and Again,” Variety, 30 Jan, 2001. https://variety.com/2001/legit/reviews/time-and-again-2-1200466132/
- Kuchwara, Michael. “Time and Again Stumbles Backward,” Associated Press. Accessed 1 Oct 2024. http://www.davidmccallumfansonline.com/Time%20and%20Again.htm
- Landau, Fred. “Skip Kennon,” IMDB. Accessed 1 Oct 2024. https://www.imdb.com/name/nm0448535/bio/
- Mandelbaum, Ken. “Time and Again,” Theater.com Accessed 1 Oct 2024.
- Wikipedia contributors. “Jack Viertel.” Wikipedia, The Free Encyclopedia. Wikipedia, The Free Encyclopedia, 6 Jul. 2024. Web. 17 Oct. 2024. https://en.wikipedia.org/wiki/Jack_Viertel
- Winer, Laurie. “Time and Again Doesn’t Live Up to Its Literary Past,” Los Angeles Times, 11 May 1996, Entertainment & Arts. https://www.latimes.com/archives/la-xpm-1996-05-11-ca-2830-story.html