Avalona: A Musical Legend

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There comes a time in every human’s life when the question of one’s purpose in living appears. It is a moment of looking into a mirror, whether real or metaphorical, and asking, “Who am I?” The question can come unbidden or as an instrument of willful intent. “Who am I?” is a question that, if embraced, can be a pathway to understanding how one creates the world in which they interact. This process of self-discovery and transformation has been described by thinkers for thousands of years as the search for and finding a balance between light and dark, with light being enlightenment and dark being unknowing; it is called The Hero’s Journey.

Avalona, A Musical Legend, created by Dina Fanai, with music and lyrics, is a concept album with elements of modern opera. While not a musical in the usual sense of that form, it fits in a class of shows with the feel of a musical, such as Jesus Christ, Superstar, which in its original form was a concept album concert with some notable productions being in the form initially conceived by Sir Andrew Lloyd Webber, but many not. It is a show at the edge of being a spectacle in the best meaning of that word, and one to be experienced as if viewing oneself on an immersive journey of discovery and transformation.

While the production is a masterful integration of many technical elements, there are some issues with its execution in terms of the sound design. While Linds Cadwell does a remarkable job with the sound design and audio mix, the venue introduces some challenging limitations. The Sanctuary at St. Paul & St. Andrew is a cavernous space without much to dampen the reverberation. This fact and the overall sound volume make it difficult to hear the lyrics and spoken text clearly, which is critical to understanding the story’s thrust.

The performance space also limits the audience’s location in relation to the action. The seating is arranged in a semicircle at the same level as the performers for most of the production. Unfortunately, the very nature of this show requires more separation of the audience from the performance so the totality of the show can be appreciated. While the intent is for the show to be immersive, ideally it should be able to create such an effect while still engaging the audience in the overall visual impact of the performances. It is essential to take in the whole of action rather than the limitations imposed by the seating arrangement.

Dodd Loomis masterfully directs an incredible assortment of performance elements into a cohesive whole, delivering a production fully engaging a viewer’s senses, emotions, and thoughts. Each element is designed to seemingly stand on its own while still integrating with the story’s overall direction. It creatively encompasses the main elements of the Hero’s Journey with Avalona (Jenna Rubaii) embarking on a pilgrimage into the unknown, leaving behind the familiar, encountering and overcoming obstacles and challenges to her understanding of herself, and emerging transformed with a clear vision of herself and her purpose. The Hero’s Journey is sometimes considered to have twelve steps, and this show mirrors those steps to a certain extent.

The moment one enters the performance space, it is clear something different and possibly special is going to happen. Music with an ethereal, meditative feel fills the cavernous space. On the night of my attendance, percussionist Chuck Palmer and alternate cellist Kely Pinheiro provided the music. They are the orchestra, with some recorded tracks augmenting their work.

The opening prologue and first act set the show in motion by introducing the Guides, characters representing a Greek chorus, Weaver of Time as the narrator who gives direction at the start of each stage of discovery Avalona will encounter, and the Shaman, who is her constant companion on the journey. Fanai, the playwright, appropriately embodies Weaver of Time, and Shaman is solidly portrayed by Maya Days. These two characters will be a constant presence with Avalona as she passes through each of the stages of her hero’s journey.

Assisting Weaver of Time and the Shaman are the Guides who will accompany her on her journey. They are dancers whose movements add to the magical and ethereal nature of the production. The modern dance choreography by Natalie Lomonte is beautifully executed by the dance ensemble, whose members are Morgan Andrews, Alyssa Rose Bulin, Kaori Hiwasa, Jordann Stoute, Kenley Hardwick, and Jamal Shuriah. Another character who appears in Act 2 but is a part of the show’s overall choreography is Fabricio Seraphin as Dark Horse. His performance is mesmerizing as he represents the guide Avalona had as a child.

Act 1 establishes the parameters of the journey, and Act 2 introduces two characters, the Shadow (Constantine Maroulis) and the Child (Madeline Serrano), who play pivotal roles in the journey. The Shadow represents the archetypal element of the unknown, and the Child, whose dreams were repressed by the adult Avalona.

As Act 2 begins, Avalona opens the emotional door to her inner child. Opening the door also reveals the darkness masking those memories. The darkness is theShadow, and this is the moment when he introduces himself with the help of the Guides. A brief transitional moment suggests what Avalona must do as she moves into the dark when he says, “Into the dark these ghosts have led the blind, follow their shadows to the light.”

At this point, the Child begins to play an integral role in the journey. After establishing herself in the story, Shadow lays the ground rules for Avalona’s quest in a duet with the Shaman of “Unbreakable.” It is a song establishing the Shadow as an element to be embraced and included in understanding one’s life. Maroulis nails this number with all the strutting rock-star bravado the character embodies, establishing the character as a force to be understood and reckoned with.

This powerful number is followed by Weaver of Time introducing the Child with the words: “When did you silence your voice? Why did you swallow your dreams and turn away from who you once were? It is time to face who you left behind, for they are now in front of you.” Serrano’s Child beautifully sings the song “Hidden,” a lament about the dreams of a child being abandoned by the adult. She perfectly embodies the Child, first in the Act 1 memory scene with Seraphin and later in her encounters with the Shadow.

These scenes finish with Weaver of Time telling Avalona to look within for the answer to her feelings of emptiness and loss. Rubaii and Fanai sing “Love Again” as an anthem to reconnect to one’s core feelings, underscoring the nature of the journey that is taking place.

The visual effects and projections created by James Lanius are integral to the dream-state journey being depicted. Lanius’ work is extraordinary in filling the cavernous church sanctuary with a visual tapestry in perfect harmony with the performers’ music and actions. Derek Stenborg’s scenic design is minimalist regarding the grand spectacle of the music and visuals. Still, it works well in support of those elements. While wearing the hats of creative advisor and music coordinator, Cadwell does a remarkable job with the sound design and audio mix, with the exceptions noted above. The costume design adds dramatically to the definition of the various characters. It is solidly supplied by a sizable group of designers, with the three most critical being Galit Levi for the lead and guide costumes, Christine Darch for the Dark Horse, and the mask design for the Dark Horse by Acheson Walsh Studios.

Avalona (through March 29, 2025)

Produced by Dina Fanai and Bob Kinkel

The Sanctuary at St. Paul & St. Andrew, 263 West 86^th Street, in Manhattan.

For tickets, visit https://www.eventbrite.com/e/avalona-a-musical-legend-tickets-1223777735149

Running time: 90 minutes without an intermission