Susan is in Latvia. Sadie is in New Mexico. Beckett is in Ireland. All three are alone; all three are haunted by their grandparents; all three hear the Big Bad Wolf scratching at the door. This world premiere musical from Dave Malloy brings three strangers together for a post-pandemic open mic night parable about magic, madness, and the end of the world.
It’s not that Malloy, the multi-hyphenate creator of works like Natasha, Pierre, & The Great Comet of 1812 (for which he received Tony Award nominations for book, score, and orchestrations) and the a cappella choral-theatrical Octet, is afraid to plunge rawly into the depths of isolation. Rather, Three Houses, in wading through its excesses of ideas and often free-associative images, suggests misleadingly that it has a particular point to make, even a moral to unfurl (after all, the show is loosely based on the fable of “The Three Little Pigs”). But the disparate pieces never bundle into something fully legible, and Malloy’s sinewy music drifts away too wispily to cohere: As drama, this is, perhaps, closest to a house of straw.
Malloy (juggling book, music, lyrics, and orchestrations) produces lovely passages, but dramatic tension and character development is where Three Houses starts to wobble on its foundations and devolves into an allegorical anthology with diminishing returns. Narration and description take up so much text, the action stalls in passive self-regard. Alternating speaking and singing might have been a wiser tactic or tightening each episode by ten minutes. For a writer inspired by loneliness, Molloy should seek out creative company: a book writer, for example, who could help shape his prodigious musical imagination, and push back when he blows too hard.
2024 | Off-Broadway |
Signature Theatre Off-Broadway Production Off-Broadway |
Videos