To see or not to see, that is the question

If you believe the advance publicity, you will expect “See What I Wanna See” to invoke intertwining themes of “lust, greed, murder, faith, and redemption.” You will expect three short stories that “unfold like a Japanese screen painting” and you will hope to encounter a vivid confrontation with the question “What is truth?” Very likely, you will be disappointed.

Michael John LaChiusa wrote the book, lyrics, and music to this tiresomely music-heavy production, which means that he did not have a collaborator to say “Enough, already!” And that’s a shame. Most of it sounds good on paper.

Referencing the short stories of Ryunosuke Akutagawa, both acts are prefaced by “Kesa and Morito,” a short non-sequitur of a piece featuring two tormented lovers (Rachel Zampelli and Tom Zemon) in the throes of passion. Each sings about the end of the love affair, but not before each sings about how he is “incredibly endowed.” I’m not sure if LaChiusa was joking, but I’m more afraid that he was being serious — or expecting to be taken seriously.

This has nothing to do with “R Shomon,” a close cousin of the film Rashomon, a 1951 classic which centers on a New York murder and several different versions of what happened. Director Matthew Gardiner has a strong cast playing the thief (Matt Pearson), the wife (Rachel Zampelli), the husband (Tom Zemon), the janitor (Bobby Smith), the medium (Channez McQuay), each singing their own version of the truth — but with minimal dialog and 15 undistinguished songs, it becomes difficult to care who’s telling the truth. There are very few blips on this flat line of an act in spite of the fine vocal performances and the acuity of conductor Zak Sandler’s Asian flavored jazz.

In the second act, “Gloryday,” a priest (Bobby Smith) determines that the 9/11 attack is enough evidence that God either doesn’t exist or has abandoned humanity. He is encouraged in this thinking by his ribald and colorful Aunt Monica (Channez McQuay) singing “The Greatest Practical Joke.” Deciding to pull a practical joke of his own, the priest hangs fliers in Central Park announcing a coming miracle right there at the lake in a week’s time. Contrary to reality, people actually pay attention to the fliers and not only believe them but respond to them. It takes 12 songs to forward this story which might have been better served by believable dialog, but the ironic upshot, topped with a full company rendition of “Rising Up,” still manages to create passing interest.

Adam Koch’s elegant scene design takes advantage of the minimal Ark theatre space with mirrors and a grove of suggested trees which barely conceal the orchestra. Mark Lanks lighting adds more drama and mood than can be found in the script itself, and Kathleen Geldard’s costumes accurately describe character and time.

“See What I Wanna See,” in spite of its technical strengths and polished performers, suffers from a precious sense of importance — as if questions of faith and truth have never seen the spotlight until now. (Remember “Doubt”?) Mr. LaChiusa has written other lengthy “chamber” musicals, the new term for shows comprised of talking songs that go on forever — “The Wild Party” is a salient example — and seems to be enamored with the form.

While some will choose to see this piece as “risky” or “surprising,” others, like me, will only be surprised that it isn’t actually as long as it seems. In the happy life of a reviewer, I generally get to “see what I wanna see” — but I must confess, I don’t “wanna see” this again.

Margaret Lawrence is a member of the American Theatre Critics Association. She teaches drama at CCHS.

Want to go?

What: “See What I Wanna See”

Where: Signature Theatre, Arlington

Contact: (703) 820-9771 or visit signature-theatre.org

Playing through: May 31