Russel Sunday and Lou Steele in Road Show at Signature Theatre. Photo: Christopher Mueller

By DCist Contributor Mark Lieberman

Gary Griffin has been following Stephen Sondheim’s Road Show since it debuted more than 15 years ago. He first heard about it when it was being developed as Wise Guy, starring Nathan Lane and Victor Garber in the ‘90s, then again when it became Bounce in 2003. He saw it in his hometown of Chicago at the Goodman, then at the Kennedy Center a few years later, and yet again at the Republic in 2008.

It’s changed a lot since then—new title, fewer characters, different thematic emphasis. But Griffin was intrigued throughout its evolution. When the chance came to direct the show at Chicago Shakespeare Theater in 2014, he knew he had to take a stab at it.

Now he’s bringing an updated version of his take on one of Sondheim’s lesser-known musicals to the Signature Theatre’s MAX Theatre in Arlington. At a brisk 100 minutes in one act, the show is “clean and lean and smart,” Griffin says, the fat having been trimmed during one of the show’s myriad earlier iterations. The story places the viewer squarely in the middle of its central family, in particular the brothers Addison (Josh Lamon) and Wilson Mizner (Noah Racey).

The play begins at the end of the story, with the death of Addison, before looping back around. Wilson and a ghostly Addison argue about what caused Addison’s death, prompting a flashback to the early 20th century and the death of the Mizner brothers’ father, who urges his sons to seek gold in the Klondike. The globetrotting has only just begun, however. The rest of the play sends the brothers to Florida, Guatemala, New York, and India, all the while in pursuit of edification and inspiration.

“Really at heart it’s a story about the two brothers and their quest and their journey through America. They were there for a lot of cultural change for America,” Griffin says. “It’s also really a very personal, very intimate musical about family. I think that the evolution distills it to that.”

For the Signature production, Griffin did his best to strip away any remaining letters of artificial concept that existed to distance the audience from the emotional center of the story. A key piece of that puzzle was avoiding an ironic tone of mockery. The brothers’ journey and all of its comedic and dramatic beats are played sincerely, a contrast to early productions. And Signature’s expansive space has given Griffin freedom to build bigger and vibrant sets, all in service of the story.

“One of the things I tried hardest to do was not put my stamp it. To do something that was very simple and essential and played to the values of the show but allowed the audience to get close to it.”

Sondheim devotees will recognize elements from some of the legendary creator’s other revered musicals, including the artistic striving at the heart of Sunday in the Park with George and the commentary on the American dream that serves as the backbone of Assassins. In terms of its journey to popular acclaim, Griffin thinks Road Show resembles Merrily We Roll Along, which also confounded audiences in its initial run.

Griffin recognizes that same slow-burn pattern in the reaction to many of Sondheim’s musicals. At first audiences expect something commercially friendly and easily digestible, only to be disappointed when the show challenges them with unusual narrative choices or an unconventional structure. But over time, the critical tide turns in Sondheim’s favor.

“I really liked Bounce,” Griffin says. “There were things about the show I didn’t fully grasp. But it’s still Sondheim. It’s really smart. It’s really inventive and lyrically amazing and musically amazing.”

Griffin’s relationship to Sondheim extends beyond interpreting his musicals for revival productions. The two have met on several occasions, and Griffin says that Sondheim made suggestions in the run-up to Griffin’s Road Show production in Chicago. Though Griffin says his idol has been “respectful and supportive” of his endeavors, he still feels obligated to do right by the source material.

“I admire him,” Griffin says. “He’s sort of been my theatrical teacher in my life. I want him to be pleased because I love his words so much.”

Sondheim plans to attend the Signature’s Road Show at some point, according to Griffin. “I will be a nervous wreck when he’s here.”

In the meantime, Griffin and his cast and crew are putting the finishing touches on a production they hope will spur renewed interest in further productions of Road Show down the road.

“The musical scenery in the show is just breathtaking. It’s by the master,” Griffin says. “If you’re not familiar with it, you’re going to spend an evening, by one of the greatest musical theater artists.”

Road Show opens tonight and runs at the Signature Theatre through March 13. Tickets are available online.