Empire: The Musical: The Power Of Building Something That Lasts.

In the late 1920s, plans for the construction of the Al Smith Building were being formed. The mastermind behind this ambitious project was none other than former New York State Governor, Al Smith. Assisting Smith in his endeavor was Frances Belle Wally Wolodsky, a seasoned and influential figure in the political sphere.

Smith’s motivation for the construction of this 100-plus story skyscraper was not only to bounce back from a failed presidential campaign but also to leave behind a lasting legacy that would touch the sky itself.

While Wolodsky tackled the multitude of tasks involved in such an undertaking, from obtaining building permits to managing contracts for materials and services, the focus of the story shifts to the diverse group of workers who would bring Smith’s vision to life. These individuals, hailing from Irish, Polish, Italian, and Mohawk backgrounds, carried their own prejudices and past grievances. However, they were united by their shared experience of working hundreds of feet above the ground, where their lives depended on each other’s cooperation and support.

As the story unfolds, various factors complicate the project. The recent stock market crash and subsequent economic downturn cast doubts on its feasibility. New York City Mayor Jimmy Walker faces pressure to cancel the project, yet the jobs it would generate make it a difficult decision. Additionally, those close to Smith are ready to discard Wolodsky if the project fails. Wolodsky’s collaboration with the building’s architect, Charles Kinney, further adds complexity as they happen to be ex-fiancés.

Notably, the musical Empire touches upon several pertinent themes, including gender equality in the workplace, the influence wielded by the privileged, and the tendency of the media to jump to conclusions prematurely.

However, at its core, Empire explores the notion of leaving a lasting legacy. While the general public may not remember the names of those who contributed to the construction of the Empire State Building, those who labored on it, as well as their descendants, will cherish this knowledge. The workers take immense pride in their craft and find fulfillment in a job well done.

Regrettably, the show introduces an overwhelming number of characters and storylines, making it challenging to comprehend them all. Additionally, the relationships between the characters are sometimes obscure. When a significant revelation occurs, it can feel rushed and disjointed. This is particularly evident during the bridge scenes where Sylvie interacts with characters from the past. Furthermore, the future of one major character is left unresolved, while others lack a satisfactory resolution.

Despite its shortcomings, Empire, with its runtime of over two and a half hours, manages to avoid feeling bloated, except for a musical number set in a speakeasy which could have been replaced with a brief dialogue exchange. Cady Huffman’s adept direction and the committed performances of the cast elevate the production. However, the book and score of the musical have room for improvement.

Several moments shine in Empire, including Lorna Ventura’s impressive choreography, exemplified by the steel girder-set number, “Lookahee,” which showcases the camaraderie among the workers. Another standout is the comical song “Protect What’s Mine,” which embodies a clear “not-in-my-backyard” attitude.

Empire is a production with great potential, but it still requires further development and refinement.