This ambitious world-premiere musical is a stirring costume epic inspired by the remarkable experiences of a fascinating real-life 16th-century character. Combining a story of doomed romance amid political struggles—somewhat reminiscent of "Camelot"—with a timelessly relevant portrait of suppressed women asserting their dignity, this vehicle shows considerable promise. Librettist Jeannine Dominy, composer Michele Brourman, lyricist Amanda McBroom, and director Sheryl Kaller have fashioned a smart and musically lush piece that needs refining but offers abundant rewards.
Adapted from Margaret F. Rosenthal's 1992 nonfiction book, "The Honest Courtesan," and Dominy's 1998 screenplay, "Dangerous Beauty," this is the story of Veronica Franco (Jenny Powers), a talented and independent-thinking young woman in 16th-century Venice, Italy, who becomes a courtesan after she can't marry the man she loves, nobleman Marco Venier (James Snyder). Her family had lost its fortune, and Marco's father, Senator Pietro Venier (John Antony), forces Marco to marry another woman, Guilia (Morgan Weed), to bring the family greater political advantage. Veronica flourishes as a courtesan and poet. When Marco and Veronica begin to meet secretly, Marco's jealous, poetry-spouting cousin Maffio (Bryce Ryness) manipulates Veronica's downfall. He becomes a priest and has her brought up before the Inquisition on charges of witchcraft.
Powers boasts a resplendent soprano voice and invests the role of courageous Veronica with conviction and nuance. She's well complemented by Snyder as the lover who can't let her go. He likewise sings with élan and elicits our empathy. Ryness is delectably despicable as Maffio, parlaying what could be a stock villain role into a portrayal with more dimensions. There are fine supporting turns by Laila Robins as Veronica's supportive mother, Michael Rupert as Marco's uncle, Antony as Marco's father, and Megan McGinnis and Weed as unhappy wives.
The score, mixing pop rhythms with traditional Broadway-style numbers, is appealing, stylishly rendered by music director Fred Lassen, a fine orchestra, and the accomplished cast. Highlights include vibrant group numbers ("I Am Venice," "Desire") and potent ballads ("I Will Love You Now"), plus a terrific climactic number for Veronica ("Confession"). Choreography by Benoit-Swan Pouffer is a mixed bag, offering conflicting styles. Nods are due to designers Tom Buderwitz (the majestic sets), Soyon An (costumes), Russell H. Champa (lighting), and Brian Danner (fight sequences).
Dominy's plot-heavy book would benefit from tighter focusing. The story's political context is important, but details of governmental machinations occasionally distract from the play's juicy melodramatic pleasures. Nonetheless, this uncommonly literate musical has the makings of gripping entertainment. Retooling would be well worth the effort.
Presented by and at the Pasadena Playhouse, 39 S. El Molino Ave., Pasadena. Feb. 13–27. Tue.–Fri., 8 p.m.; Sat., 2 and 8 p.m.; Sun., 2 and 7 p.m. (626) 356-7529. www.pasadenaplayouse.org.