Sting fans rejoice. The Last Ship has set sail on Broadway, and it looks like it’s going to be a long voyage. Those in the know will recognize many of the songs, as they’ve been featured in albums by the charismatic singer-songwriter.
Other theatergoers may find this show leaves them a bit cold. The proceedings have a pervasive gloom about them, and certain plot points confuse. There doesn’t seem to be a time frame; Billy Elliot was easier to understand when put in the context of Thatcher-era England. And it’s completely baffling where the townspeople are going in the ship they build out of scrap material. Do they have a plan, or indeed, anything as simple as provisions for food and water? The attitude towards love is not exactly uplifting; leave for a ridiculously long period of time, and when you come back, expect to take up where you left off. Unless your former lover has decided to settle for something pretty good, but not exactly overwhelming.
Gideon Fletcher (Michael Esper) has come back from the sea to claim his erstwhile girlfriend, Meg Dawson (Rachel Tucker). Gideon had to defy his brutal father (Jamie Jackson), and escape his inevitable fate of working in the shipyards of the gritty English town where they all live. Meg carries a torch for her lost love but has also become attached to Arthur Millburn (Aaron Lazar), who wants to marry Meg, and considers her son Tom (Collin Kelly-Sordelet) to be his own. Millburn is trying to persuade the shipbuilders to forsake their dreams of reopening their now defunct shipyard, and take jobs in salvage to put bread on the table. The men, led by Jackie White (Jimmy Nail), refuse and decide to take over the shipyard and build a boat themselves.
They’re encouraged by Father O’Brien (Fred Applegate) who uses contributions from churchgoers to fund their efforts. Tom is, of course, Gideon’s son, and he wants to connect with his father while affirming his devotion to the shipbuilders.
Clichés abound. The fiery Meg has red hair, in this case, a deep Irish Setter shade. Father O’Brien is not only Hibernian, but also has more than a little fondness for drink. It’s no surprise that Gideon has fathered a child before he left for the sea. The shipbuilders, quite naturally, spend their time in the pub, and are always ready for an argument or a fight. Fortunately, the predictable ending has a bit of an intelligent twist.
The actors all have fine, strong voices. Esper and Nail sound like Sting, which gives their numbers an extra authenticity. The choreography, by Steven Hoggett, is heavy footed but danced with enthusiasm. With Joe Mantello’s sure direction, the performances are all excellent, and the difficult Geordie accent is consistent. Standouts are Fred Applegate, who brings a necessary edge to the lovable priest; Kelly-Sordelet (a graduate of Julliard, of course) shines as both young Gideon and Tom. Lazar’s Arthur is sympathetic and understandable; he makes the most of the ballad he’s given.
The music is at times haunting, and in the case of Nail’s rousing plea, “The only life we’ve ever known is in the shipyard,” illuminating to the story line.
The Last Ship is a good, strong production, but at the end of the evening, somewhat stressful. You may well leave wanting a couple of beers, and with the undeniable urge to stomp your feet and take over a shipyard.
