Up Here

There's a part of me that wants to give a rave review to husband and wife team Robert Lopez and Kristen Anderson-Lopez' new musical "Up Here" simply because they have created something wholly original.

The show isn't a reboot of a classic musical nor is it based on movie and, thank goodness, it's simply a fresh and innovative new story. Separately this team has been responsible for Broadway hits like "Avenue Q," "Book of Mormon" and "In Transit." Together, they can be blamed for the world's obsession with the remarkably catchy music of "Frozen." And with all that talent, it's no wonder that I can easily give a positive review to a musical that is pretty spectacular even when the production is just a (way) off-Broadway try-out.

The plot revolves around an independent IT guy named Dan (Matt Bittner) who arrives at the home of Lindsay (Betsy Wolfe) to fix her computer. He bemoans the fact that he is sort of a schluppy nerd ("Up Here") and has many voices in his head causing him to think, say, and do a myriad of different things in response to what is going on in his life.

It is during this song that we get to meet many of these "thoughts" including Mr. Can-Do (Devin Ratray), Humbug (Devere Rogers), Cool Guy (Andrew Call), Critic (Jeff Hiller) and many more. While this might seem like a latent spin on the Pixar film "Inside Out," this show was clearly written before the film was released so any similarities are coincidental, not to mention negligible. Aside from the general concept, that's where the similarities end.

Dan gets the courage to ask Lindsay out for coffee, but Dan's voices cause him to appear to be distracted during their date and she decides to leave. He stops her, admitting he's nervous and tends to act oddly when he doesn't really know what he's doing. She lets him know that it's okay to be awkward in a song aptly titled "I Have No Idea What I'm Doing."

At this point the story is a sort of "meet cute" romance that has the added insight of Dan's inner thoughts and how that makes him react to the development of the relationship. As humorous and uncomfortable as this might be, it's highly relatable which immediately connects the audience to the story.

Sadly for the couple, the two don't feel like they are connecting and Dan keeps holding back his feelings. By doing this, he isn't helping Lindsay to understand why he's upset when he's upset and the relationship begins to crumble. The question of if they are able to work out their issues is the crux of the show.

With the arrival of Lindsay's brother Tim (Eric Petersen) who is "on the spectrum" between brilliance and autism, he proves to be a handful for Lindsay, but will also be a catalyst for how Dan will resolve his problems.

For much of this zippy and hilarious musical, we move right along with Dan and Lindsay. Both are charming in their own ways and the added benefit of the inner thoughts is unique and exhilarating. The songs are great, with some stellar tunes at the beginning of the show and a whole slew of them in Act Two ("Don't You Just Hate Dan?" "The Glory of What Was" "There's No Such Thing as Number One" are all standouts).

The actors are all first-rate with Wolfe and Bittner both in top form, especially Wolfe's voice, which is flawless. Petersen is excellent as Lindsay's brother, and Hiller's Critic is consistently uproarious.

The flaws in the show really come down to too many ideas competing for attention. Is this a show about Dan overcoming his inability to communicate? Is it about how we are all connected and need to make sure we keep up those connections? Is it about finding our inner worth and as a result finding people that match that worth? It's sort of about all of those, but in that we get confused as to which emotional journey we are tracking.

Throughout the show a small child appears (Giovanni Cozic) who adorably talks about the creation of the universe and a particular rock (read: boulder) that lives in Central Park and becomes a set piece throughout the show. The first time this happens, we are a good 15-20 minutes into the show so suddenly we are confused as to who the kid is and what he has to do with the story.

Ultimately, there's a point to his character and the mystery of who he is will be revealed, but it doesn't have the profundity that is implied early on. While the set piece itself works, we don't really need the history of the rock since what the rock represents is sort of spelled out as the show moves along. And the reveal of the child's true identity is unnecessary and seems to come out of left field. It's an interesting concept, but when other themes fit better, it might be best to oust a few to keep the ones that land the best.

Set design by David Korins is really clever with the set surrounded by a proscenium and backdrop of steel gray half bubbles that change colors throughout the show. Representing the neurons and synapses and thoughts of Dan, they give the show the whimsical nature the story and songs call for. Lighting by David J. Weiner is key to making this work, and one can't not mention Ann Closs-Farley's costumes which are a constant hoot throughout.

Directory Alex Timbers competently makes the show work beautifully. This is a complicated show that could have easily gone off the rails. With a large supporting cast, it might have seemed like crowd-control on stage, but Timbers smartly places his actors in such a way as to not only make sense, but also not steal all the focus away from Dan. This is his head and his thoughts and we are always aware that he is front and center of the story. Similarly, the choreography by Joshua Bergasse (Broadway's "On the Town") is clever and doesn't feel as random as it might have with a stage packed with characters.

Truth be told, there is a lot to love in this show. From its clever concept to its cunning lyrics, this is a show that will appeal to many. The story hits us on a personal level since we all deal with our inner voices fighting, arguing, and loving us all day, every day. If the themes of the show get reined in a bit and a few extraneous scenes get jettisoned, this could very well be one of the more popular (and thankfully original) Broadway shows of the future.

"Up Here" has been extended through September 6 at the La Jolla Playhouse, 2910 La Jolla Village Dr, La Jolla, CA. For tickets or information, call 858-550-1010 or visit www.LaJollaPlayhouse.org.