We Got Nothing: A Bronx Tale The Musical Review

A Bronx Tale-The Musical at Seven Angels Theatre | Photo Credit: Paul Roth

“You’re only allowed three great loves in your life” and sometimes, the subject of that love isn’t a who but a where. Seven Angels Theatre of Waterbury, Connecticut, presents A Bronx Tale, a musical adaptation based on Chazz Palminteri’s 1989 play, set in The Bronx, New York between 1960 and 1968. This production, directed by Joe Barbara and Janine Molinari, dispatches melodious themes of identity, pride versus integrity, good versus evil, love versus fear, and Machiavellian philosophy as characters grapple with different iterations of the Italian-American dream.

Calogero, played by Christopher Rosa Cruz (and understudy Raúl Calderón), grows up in the neighborhood of Belmont Avenue with his father, Lorenzo (Robert Lomberto), and mother, Rosina (Marissa Follo Perry). A young Calogero (Carlos Velasquez Escamilla) witnesses a crime committed by mob boss Sonny (Joe Barbara). When asked about the crime, young Calogero is inclined to show loyalty to Sonny by not ratting him out, thus beginning a relationship with Sonny that creates tension in his relationship with his father. As Calogero grows up, he’s presented with a series of life-defining choices bolstered by the influence of juxtaposing father figures: the power that Sonny’s wealth and clandestine pursuit of the American dream exemplifies versus the image of weakness and struggle that his buttoned-up father, Lorenzo the bus driver, embodies. The tug-of-war is emphasized in the montage of his coming-of-age with musical numbers like “Roll em” where the corruption of his youth is blatant, and “I like it” where Calogero’s identity shifts with a choice.

His quest for identity turns critical when he meets Jane (Briana Maia), who is the antithesis of his surrogate lifestyle. Jane is Black and lives on Webster Avenue, a rival neighborhood. She is Calogero’s enemy by virtue of her race and the time in which they live, but he isn’t content with the status quo and decidedly chooses to cross the racial divide, come what may.

Cruz is unassuming and vocally decisive, while Escamilla is vibrant with a voice that denotes the rawness of adolescent uncertainty befitting his character’s disposition. Lomberto convincingly depicts the buttoned-up and passionless figure of faded dreams with notes of striving to feel something, while Barbara exudes the haughtiness of a made man—sure-footed in his delivery. Calderón is incendiary and depictive of an authentic youthful hubris, delivering a beautiful array of emotion. His filling in for an injured Cruz allowed the show to go on and even enhanced the portrayal of Calogero at a crossroads despite not being off-book. Maia ties the bow on the production with angelic runs and a vocal range that harmonizes with, and even carries those of her cast mates—each verse an impassioned plea.

The gang of wise guys: Rudy the Voice (Len Fredericks), Eddie Mush (Vin Scialla), JoJo the Whale (Michael Barra), Frankie Coffeecake (Jonathan Zalaski), and Tony-Ten-To-Two (Rich Gaudiosi), are fantastic in their maneuvering between the superciliousness of a pride ready to pounce and the quirky ridiculousness of a herd that is nothing without their shepherd.

Calogero’s crew comprised of Sally Slick (Joseph Thor), Handsome Nick (Rocco Di Donato), and Crazy Mario (Keegan Smith) depict a necessary pomposity that highlights their place as miniature wise guys with half the brain and twice the self-importance of that of Sonny and his crew.

The Webster Ave ensemble of Jesse (Elias Ocasio), Charlene (Tiana Golding), Denise (Milan Loreal), Tyrone (Darnell Isaiah Williams), and Frieda (Rachel Nicole Poole), come through with a burst of culturally brilliant drill team stepping choreographed by Janine Molinari and Darnell Isaiah Williams, creating a splash that sets the characters apart from their Italian rivals.

The musical numbers underlaid by the stage-adjacent band created a beautifully inclusive feel, heightening the production with live music. Glenn Slater’s lyrics allow for seamless transitions between narration and dialogue while giving audiences a little something to bounce to.

Emily Nichols’ set design envelops the production in a pocket of 1960s Bronx setting the scene of neighborhood staples like Chez Bippy and Gino’s Pastry Shop, while Thomas D. Gordon’s costume design is the icing on the time hop cake, exhibiting a variety of button shirt prints and exposing various levels wife-beater, gold chain, and chest hair combos. The sound design of Josh Lopez and the lighting design of Matt Guminski accent the emotional needs of the production fantastically.

Even short of the tangible things that make a life comfortable, a person is never short of choices. This tale of two neighborhoods and the timelessness of the Romeo and Juliet-styled rivalry is heralded in this musical production. In the battles of love versus fear, good versus evil, integrity versus pride, one thing is absolute; you live with what you choose. “The saddest thing in the world is wasted talent,” and sometimes home only offers a small picture of what a person can become.  

For tickets to A Bronx Tale: The Musical visit SevenAngelsTheatre.org. This production runs through May 19th.