Crazy for Sessions
Saturday January 17, 2009 | Contributor: Jennifer Wright

Is the dwindling array of plays in New York driving you insane? Are you still irritated that Jeremy Piven is pursuing a career as a thermometer? Irate that despite Spamalot’s token “Not Dead Yet!” hit song the musical appears to be on its last legs? Horrified that even Young Frankenstein has grown old? Take heart! You should have been at the premiere of Sessions at the Algonquin Theater this Wednesday.

If you are unfamiliar with Sessions, it’s a saucy, charming new musical about a therapist named Dr. Peterson attempting to help his patients through group and individual counseling sessions. The patients “from all 5 boroughs (except Staten Island)” vary widely in personalities. They range from Baxter, a hugely successful businessman who buys buildings rather than dealing with his feelings, to George, who still pines for an ex-girlfriend after 15 years.

Each character is endearing, but the standout is Leila, played by Maya Days. Leila proves to be a sultry – if deeply damaged – temptress who attempts to lure Dr Peterson into an affair. The sexual tension between the two proves a fascinating plot point, and shows the fallibility of humans - even the therapist.

The flawed therapist in question is played brilliantly by John Hickock who remarked at the after-party, held at Primehouse, that he absolutely loves the role, and that he’s dedicating it to all the therapists who helped him realize that “he’s only human”. But then, there’s a lot to love in this show. The music – including the (surprise!) song “I’m Only Human” - encompasses a wide spectrum of styles, from Bob Dylan inspired melodies, to torch songs of a more classic variety. As the musical has all the banter and bombshells of a classic movie, I couldn’t help feeling that the music was at its best when featuring 1940’s style swing, such as the hum-able song “You Should Dance” which begins Act Two.

Little wonder that Dr. Peterson expresses his desire to go swing dancing early on. And not simply swing dancing in general, but cavorting at either The Rainbow Room or Swing 46. One of the most delightful aspects of the play is the specific New York references. The cast often mention well-known places around the city, such as The Boathouse in Central Park, The Sherry Netherland and the book kiosks on the streets.

There wasn’t swing dancing at the after-party, but there was a general feeling of bonhomie that could easily have led to it. Albert Tapper, who wrote the book, music and lyrics for the show was in attendance, enjoying the steak tartar and potato chip hors d’ouevres. As Albert Tapper is also a very successful businessman, one might assume that he based the character Baxter upon himself. However, while he acknowledged that some of Baxter’s actions and stories have a root in truth, he insisted that he was “every character.” As he’s been composing music since the age of 12, Sessions is certainly a product of a great deal of experience.

The show is clearly and cleverly written, and performed by people who know and love the city. Unless the world has gone quite mad, Sessions will have a long and wonderful run.