‘Movin’ Out’ moving musical

Anyone interested in dance and movement must check out “Movin’ Out,” one of the most intense two hours of dance I’ve seen on a Spokane stage.

In fact, this national touring version of the Broadway hit seemed almost too intense at first. Like many theatergoers, I wasn’t accustomed to seeing a story told entirely through dance. There is no dialogue, just a dizzying display of Twyla Tharp’s choreography, telling a story that – well, seemed to have something to do with five extremely energetic high school pals.

For those of us accustomed to standard musicals, it took some getting used to. When the spotlight hit a character on the main stage, instead of breaking into song, he broke into dance. A seven-piece band was arrayed all along the top of the two-tier stage. Matthew Friedman, upstairs at the piano, expertly handled the vocals for 26 Billy Joel songs such as “It’s Still Rock and Roll to Me.”

Yet before long, Twarp’s wordless storytelling cast its spell. The story and the entire show take off during an intense scene symbolizing a Vietnam battle, to the accompaniment of “We Didn’t Start the Fire.” After that, the show’s emotional intensity never lets up. The audience, which seemed taken aback at first, became increasingly immersed and, by the end, gave the show a nearly rapturous standing ovation.

That was a tribute, in part, to the sheer level of talent on stage. This dance ensemble is absolutely world-class, demonstrating beautiful and controlled ballet moves at one minute and then skyrocketing across the stage like Olympic gymnasts the next. The most jaw-dropping performance came from Drew Heflin, playing Eddie, who has been damaged by the Vietnam War and slowly must learn to live again.

Heflin combines toughness and grace in equal measure. The most amazing moment came at curtain call, when he did a set of handsprings. I wasn’t surprised he had the talent to do them; I was amazed he had any energy left at all, after what he’d just been through.

This show is a surprisingly effective showcase for Billy Joel’s music – and I admit, I had forgotten how good many of these songs were. His gift for melody was on display not just on hits like “The Stranger” and “Innocent Man,” but also in excerpts from his classical compositions, such as “Invention in C minor.”

Songs like “Big Shot” display an almost Sondheim-like sophistication of wordplay, loaded with internal rhymes like “white hot spotlight.” He knows how to punch the right syllables for dramatic effect, as in “You had to have the last word, last night.” Joel’s ability to tell a story through song is what ultimately makes “Movin’ Out” work dramatically. The show begins with the evocative and romantic “Scenes From an Italian Restaurant” and hits its emotional peak with the devastating “Good Night Saigon.”

Friedman is an outstanding interpreter of Joel’s songs, managing to sound like himself while still staying true to Joel’s style and spirit. The show is a remarkable tribute to Joel, while being much more: a dazzling, original work of movement art.