In Andy Kelly and Nick Coyle's The October Sapphire, a blue-faced genie, released from his enchanted jewel of the title, has the ability to grant one wish. Unfortunately for the audience, no amount of wishing will transform this insipid Australian musical into a cohesive work.
Sheathed in Rocky Horror-esque camp, The October Sapphire is a convoluted mash-up of pop music, hoary character types, and puppetry. The sometimes nonsensical plot mainly concerns a love polygon between a male nurse with a lisp, a murderous private-school graduate, a saccharine American girl, and a remedial Muppet with an oral fixation.
The scenes never quite reach their dramatic peaks, while characters and subplots often remain undeveloped or forgotten until they need to be resolved quickly by the show's end. Awkward choreography, juvenile lyrics, and an unfocused score that ranges from hip-hop to doo-wop just make matters worse.
Although The October Sapphire affords a few wacky laughs, especially in the campy yet grounded performance of Hetty Marriott-Brittan, it may be a play best left Down Under.
Presented by Succulence Productions as part of the New York International Fringe Festival at the Henry Street Settlement's Harry de Jur Playhouse, 466 Grand St., NYC. Aug. 12-18. Remaining performances: Tue., Aug. 15, 7:15 p.m.; Thu., Aug. 17, 6:45 p.m.; Fri., Aug. 18, 4:15 p.m. (212) 279-4488 or www.fringenyc.org.