The Score

In The Score, Bach invents jazz.

Well, kinda (see: not really). Cotton's premise is that Bach gets summoned to the court of Prussian King Frederick II in Potsdam in the 1740's to solve a musical conundrum that only he would be able to figure out thanks to his mathematically astute improvisation ability. The puzzle in question ends up being underwhelming, given all the hullabaloo surround his arrival -- he's characterized as a bit of a friendly rock star that's beloved but past their prime, think Springsteen-level. The Score succeeds in building up Bach to be this legendary figure, but much of the plot actually hinges on the surrounds of his son, the debtor Carl Bach. Carl is also a composer, though a less successful one, living in his father's shadow as one of the court composers for the King alongside three of his snakely friends. The underlying focus on his mission to prove the greatness of his father while not embarrass the King adds some mystery to the great and powerful importance of the musical puzzle, but by the time it comes for Bach to confront the King with his solution, it resolves with little more than a fizzle. However, where it fails in creating a big "oof" moment that turns the script on its side, it introduces broader themes of anti-imperialism and rule of law that makes for a well-worded climax, showing Bach's standing as a member of the community in the face of someone with an apparent divine right to rule. Somehow, though, it finds about 45 more minutes of content beyond this; the first 15 serve as a fine conclusion, but the latter 30 felt like retreads that did not add much besides a final reminder that this story was apparently -- spoiler alert -- real. If you're like me, at least that will keep the play in the mind's eye for a bit into the future as I seek to learn more about it. I just wish Cotton explained to us non-musical invalids what exactly a "fugue" is, because after three hours, I'm still not quite sure.6/10