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Some say that the American musical has run into heart trouble these days. Take Bob Fosse's CHICAGO: today's Broadway and touring production is undeniably a hit. It is brilliantly crafted, cast and executed, but is based on a cynical, super-smart and in many ways imperious '70s parody of old-time show-business sincerity. In its day, when considered purely for its inspirational qualities, it was regarded as a poor successor to Michael Bennett's A CHORUS LINE. But today it is regarded by critics and audiences alike as bringing back long-lost "heart' to music theatre. Contemporary composers for the form (like myself) must accept that somewhere a void has been created that is not being filled today. 
It is a tough call to satisfy the modern audience's desire for intellectually stimulating music theatre entertainment, and at the same time serve its need for romance and hope. THE FIX is a play that accepts the challenge. Developed in London at the Donmar Warehouse by the luminary teaming of Sam Mendes directing and Cameron Mackintosh producing, it has real potential to touch audiences deeply and at the same time satisfy their need to feel intellectually engaged by a play. 
Composed by Dana P. Rowe with lyrics by John Dempsey, THE FIX demonstrates clearly just how much talent is required to surmount these hurdles in a musical play. Composition must be elegant, seamless clever simple. Lyrics must be witty, memorable, delightful, disturbing and inventive. Story and characters must be engaging and believable. In THE FIX the talented young writers have achieved all this. The play itself leaps into the heart from the first crashing guitar chord of 'One Two Three'and by the time Grahame, played by Philip Quast, sings the incredibly moving and modally profound "First Came Mercy", we are captivated by the sheer range of compositional and dramatic skill on display. 
SamMendes' production is witty and smart - and, without any apology, a continuation (and refinement) of the rock and roll style created by Des McAnuff for TOMMY on Broadway. It is also colourful and humourous like Mendes'earlier work on the 1996 London production of Sondheim's COMPANY. 
So when we British do come up with a piece that has of least the elements required to do the job, everyone gets pretty excited. That's where I come in. I saw THE FIX in London at The Donmar. I'm a fan of the Donmar and the work of Sam Mendes, who is its Artistic Director, so I knew I would enjoy my evening. I went with two associates from TOMMY and we had friends from that show in the cast and orchestra - so we were in a friendly mood. None of us was quite ready for the sheer ambition of THE FIX, the adventure on which it embarks is creative in the extreme: new play, new music, new production approach (this play was developed at the Donmar with a grant from Cameron Mackintosh rather than commercial sponsorship of the usual kind). 
At the end of the play we know we had witnessed in the emergence of its creators major new talents in music theatre. As THE FIX opens in the USA for the first time, I hope you too will appreciate just how exciting it is to unveil a brand new play in the glorious tradition of the American Musical, and one which in my opinion has both intelligence and heart.