A basic plot synopsis of Ross Golan’s musical The Wrong Man—no relation to the 1956 Hitchcock classic with Henry Fonda—might lead you think it deals with racial tensions in contemporary America. In Reno, Nevada, an African-American young man with a troubled past named Duran (dynamic Joshua Henry) is framed for the murder of his pregnant girlfriend Marianna (passionate Ciara Renee), also a victim of unfortunate choices. The crime was actually committed by the woman’s psycho ex who quickly disappears in Mexico. Themes of social justice are not developed beyond a cursory once over, and Duran’s race is not even addressed. The emphasis is on the melodramatic, implausible machinations of the crime. Duran and Marianna are hardly sketched in further than a few broad strokes, while her dangerous former spouse, known only as the Man in Black (a charismatically evil Ryan Vasquez), at least has a riveting dark presence.
Fortunately, Golan’s sung-through score and lyrics have enough drive, heart, and sizzle to maintain involvement for the 90-minute running time. Pulsating rhythms, multiple genres, and rap-infused rhymes make up for the lack of character depth, as does the intense, heart-felt performances, particularly that of Henry whose intense vocals and acting endow Duran with a substance the script lacks.
Thomas Kail (of Hamilton fame) has directed the show with incredible variety, utilizing the nine-person ensemble on Rachel Hauck’s minimal set imaginatively. Travis Walls’s eloquent choreography and Betsy Adams’ neon-accented lighting add vitality to this half-right Wrong Man.
