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Off Broadway

Between the Lines Skips Along in a Wicked-ly Fun Way, Yet Taking the Long Way Home

Between the Lines Skips Along in a Wicked-ly Fun Way, Yet Taking the Long Way Home

The idea is a fascinating one, unique and interesting. What lives and breathes Between the Lines, in a book, in a play, or in a musical? That’s the question to unpack when watching this new Off-Broadway musical based around a Young Adult book co-written by best-selling American author Jodi Picoult (“Wish You Were Here“) and her daughter, Samantha van Leer. And it’s all wrapped up so nicely in this new fanciful musical with music and lyrics by Elyssa Samsel and Kate Anderson (Disney’s “Olaf’s Frozen Adventure“) and a book by Timothy Allen McDonald (The Book Thief musical adaptation with Samsel, Anderson, & Picoult), where a young socially awkward 17-year-old girl by the name of Delilah, played beamingly by Arielle Jacobs (Broadway’s Aladdin) has her difficult life thrown up into the stars when a handsome prince in some very tight tights steps out from the pages of a fairy tale and professes undying love to her. As princes tend to do, I guess. Just go see the more mature (and more musically solid) version of fairy tales coming to life on Broadway in the phenomenal revival of Into the Woods.

The company of Between the Lines. Photos by Matt Murphy, 2022.

But more on that later (I’m working on that Broadway review later this week). Between the Lines does its job well, but falls somewhere short of being ready for prime time. As directed by Jeff Calhoun (Broadway’s Grey Gardens) with choreographed by Paul McGill (Broadway’s Hedwig…), the musical plays its heroine well, focusing our attention on the determined but somewhat lost Delilah as she tries to, well, not really find her place in high school, but more like, stay out of everyone’s way and hope no one really sees her. Her newly divorced mother, played a bit off-track by Julia Murney (Broadway’s Lennon) as if, half the time, she’s in a different, more serious musical trying hard to do an Alice Ripley imitation (she does much better and has more fun in the fairytale world), is not much help with her struggles, diving headfirst into work and studying to deal with her anger and grief that her husband and father to Delilah has left them for a much younger, more flexible yoga instructor. It’s a pretty cliched plot point, lined up neatly beside many other equally simplistic cliches, including the second-rate Mean Girls squad that inhabited Delilah’s school.

Will Burton, Hillary Fisher, Jerusha Cavazos, Sean Stack, Wren Rivera, and Arielle Jacobs in Between the Lines. Photos by Matt Murphy, 2022.

With all that bullying by the mob of four, Delilah turns her attention to a fairytale book she finds in the library, seemingly the only copy self-published by the author many years ago for her son’s enjoyment. Magically, when she opens the book, she comes face to face with the charming young Prince at the center of the tale, beautifully portrayed by the handsome Jake David Smith (Broadway’s Frozen), who is somewhat desperate to get out of his own story and into hers (that comment sounds far more sexual than any part of this very PG musical, trust me). The fictional life he is living inside of the lines, surrounded by his mother, Queen Maureen (Murney), her Lady in Waiting (Vicki Lewis), Prince Oliver’s should-be love interest, Princess Seraphima, perfectly portrayed by Hillary Fisher (TNG’s Cyrano), and a number of other odd-ball but fun creations, doesn’t seem to be fitting him as well as those tights – kudos to costume designer Gregg Barnes (Broadway’s Tuck Everlasting) who finds all the balances within; and he flies forward, dashingly and ridiculously, into the arms of Delilah hoping to discover some freedom and true love that doesn’t exist in his line by line story.

Along the way, we have been given possibly far too many songs, albeit a lot of them are fun and enjoyable; like the witty bully song, “Inner Thoughts“, the delicious mermaid song, “Do It For You” magnificently performed by Jerusha Cavazos, Wren Rivera, and Vicki Lewis, or Lewis’s hilarious solo performance of “Mr. Darcy and Me“, that take the long way around this yellow brick road to get us to the royal gates and the finale that has Delilah learning a lesson or two about life and love and happiness. Naturally. And here’s where a show doctor might have come in handy; tightening up this tall tale with a few snips here and there and hopefully giving this cute musical a sharper focus and a clearer road forward. It might just make the whole thing feel more immediate and engaging, and far less overblown, particularly in the real-world scenarios.

Vicki Lewis in Between the Lines. Photos by Matt Murphy, 2022.

One of the brightest lights in Delilah’s real world comes in the form of the wonderfully fun Vicki Lewis (Broadway’s Anastasia; “NewsRadio“) magnificently playing the feisty librarian, who dons a number of wigs and costume changes to continue to delight throughout this eclectic little musical. She seems to know where she is, what her reason is, and to whom she is playing to. This is equally true for the wonderfully engaging Wren Rivera (Apple TV’s “WeCrashed“) as fellow outcast Jules as well as fairytale mermaid Ondine. Will Burton (Broadway’s Kiss Me, Kate) as both dumb jock Ryan and adorable pup Frump also shines most impressively bright, giving us solid moments of engagement and well-formulated choices that are both funny and endearing. I could watch him wag his tail for the whole show.

Pretty much everyone in this cast has fun in their given dual roles, both in Delilah’s real troubling world and her fantasy version inside the book. Very “Wizard of Oz“, with slices of Mean Girls tucked in between Cinderella moments of enchantment. I mean, in that one scene closer to the end of Between the Lines, with Delilah lying down in the hospital bed after falling from the rooftop where she likes to read and dream, I almost expected her to say, “And you, and you, and you, and you were there“, finalizing the idea that there is, basically, “no place like home.”

Arielle Jacobs and Jake David Smith in Between the Lines. Photos by Matt Murphy, 2022.

The ingenious set, designed creatively by Tobin Ost (Broadway’s Newsies), with strong lighting by Jason Lyons (Broadway’s Hand to God), a clear sound design by Ken Travis (Broadway’s Memphis), and a wonderfully intricate projection design by Caite Hevner (Broadway’s In Transit), adds layers of book-smart fun to the production with panels from the stage floor flipping and angling their way up, or pages from a book unfolding and transforming themselves into secondary uses, much like the cast. Overall, the cast does an exemplary solid job giving life and joy to both worlds, especially in the way they unpack the upside downs of all the characters, and I don’t mean that in the scary “Stranger Things” kinda way. But, we must admit (without shame) that this fun fairytale musical is no Into the Woods. At least not yet.

But I hear you. It’s not the fairest comparison. As Into the Woods is a firmly established musical, one of the great ones by Sondheim, that has been perfected and nurtured to what it is today. (And that Broadway revival is total perfection, for the most part.) Whereas Between the Lines is a new, beautifully engaging beast, in need of some love and care so it may too grow into something magnificent. It is, most definitely geared towards a much younger different demographic, most likely teenage girls who didn’t manage to snag a(nother) ticket to see their favorite musical of all time, Wicked, or maybe Aladdin. But that doesn’t mean it can’t be doctored into something smarter and sharper, with a deeper subtext and subtler emotional clarity. And if there is any grand theme in this review is that I hope this new musical is given its fair chance to grow up strong over the coming days. Because it still could use some work and a sharper directorial eye to make it stand up tall against all the “Giants in the Sky” that are living and singing, most Wicked-ly, on Broadway right now.

Jake David Smith and Arielle Jacobs in Between the Lines. Photos by Matt Murphy, 2022.

Between the Lines opened July 11, 2022, at the Tony Kiser Theater and runs through October 2. Tickets and

Arielle Jacobs and Jake David Smith in Between the Lines at the Tony Kiser Theater off-Broadway. Photos by Matt Murphy, 2022.

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Off Broadway

My love for theater started when I first got involved in high school plays and children's theatre in London, Ontario, which led me—much to my mother’s chagrin—to study set design, directing, and arts administration at York University in Toronto. But rather than pursuing theater as a career (I did produce and design a wee bit), I became a self-proclaimed theater junkie and life-long supporter. I am not a writer by trade, but I hope to share my views and feelings about this amazing experience we are so lucky to be able to see here in NYC, and in my many trips to London, Enlgand, Chicago, Toronto, Washington, and beyond. Living in London, England from 1985 to 1986, NYC since 1994, and on my numerous theatrical obsessive trips to England, I've seen as much theater as I can possibly afford. I love seeing plays. I love seeing musicals. If I had to choose between a song or a dance, I'd always pick the song. Dance—especially ballet—is pretty and all, but it doesn’t excite me as, say, Sondheim lyrics. But that being said, the dancing in West Side Story is incredible! As it seems you all love a good list, here's two. FAVORITE MUSICALS (in no particular order): Sweeney Todd with Patti Lupone and Michael Cerveris in 2005. By far, my most favorite theatrical experience to date. Sunday in the Park with George with Jenna Russell (who made me sob hysterically each and every one of the three times I saw that production in England and here in NYC) in 2008 Spring Awakening with Jonathan Groff and Lea Michele in 2007 Hedwig and the Angry Inch (both off-Boadway in 1998 and on Broadway in 2014, with Neal Patrick Harris, but also with Michael C. Hall and John Cameron Mitchell, my first Hedwig and my far), Next To Normal with Alice Ripley (who I wish I had seen in Side Show) in 2009 FAVORITE PLAYS (that’s more difficult—there have been so many and they are all so different): Angels in American, both on Broadway and off Lettice and Lovage with Dame Maggie Smith and Margaret Tyzack in 1987 Who's Afraid of Virginai Woolf with Tracy Letts and Amy Morton in 2012 Almost everything by Alan Ayckbourn, but especially Woman in Mind with Julia McKenzie in 1986 And to round out the five, maybe Proof with Mary Louise Parker in 2000. But ask me on a different day, and I might give you a different list. These are only ten theatre moments that I will remember for years to come, until I don’t have a memory anymore. There are many more that I didn't or couldn't remember, and I hope a tremendous number more to come. Thanks for reading. And remember: read, like, share, retweet, enjoy. For more go to

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