Days and months777pub, but also mere minutes, acquire outsize, perhaps even life-altering significance, in three song cycles currently playing intimate venues in Manhattan.
Todd Almond’s “I’m Almost There,” at the Minetta Lane Theater through Oct. 5, takes place over just a few minutes, while Gabriel Kahane’s “Book of Travelers” and “Magnificent Bird,” upstairs at Playwrights Horizons through Oct. 13, cover periods that feel like distinct parentheses in his life.
Under its goofy exterior, Almond’s “I’m Almost There” is a sneakily, formally daring experiment in pared-down musical theater that connects with both mind and heart. This 75-minute Audible production, directed by David Cromer, unfurls over the time it takes for Todd (Almond) to walk down the stairs from his apartment to the street, where Guy, who has just rung his buzzer, awaits. The two met at a brunch the day before and ended up walking around together, until an abrupt parting. Now this possible love interest has unexpectedly turned up, bearing coffee.
An accomplished composer and music director (he collaborated with Laura Benanti on her recent Audible show, “Nobody Cares”), Almond has created something that feels like an interior monologue with the jumbled, digressive quality of a fever dream: Time and space unfold following their own surreal logic and Todd experiences jump cuts from one location to another as the mayhem escalates. “This is exactly what happens when you let someone talk you into brunch,” he says while trying to escape a vampire’s fangs.
An undercurrent of anxiety runs through the show — Todd has a fear of falling from something (like his building’s rooftop when sleepwalking) or for someone (like a certain nice man with whom he just clicks) — but it fuels a self-deprecating, antic energy that keeps the story from lapsing into neurotic solipsism.
Flanked by Erin Hill on harp and vocals and Luke McCrosson on bass, Almond, whose acting credits include “Girl From the North Country,” brings to life a gallery of eccentric characters, but does quite well on his own, enlivening his serviceable vocals with a vividly comic presence. Letting people in is tough, but Todd eventually answers that bell and opens up.
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