Lyrics To Wind Beneath My Wings

What Bubbie Did During the War

When Donna Murphy time travels, she packs light. A pair of glasses, a shawl, maybe some lipstick: that’s all this chameleon actress requires to step over the chasm that divides two chapters of one woman’s life in “The People in the Picture,” a sincere and queasy new musical about mother love, Yiddish theater and the Holocaust that opened on Thursday night at Studio 54.

You may never have realized, for example, how expressive a set of shoulders can be in defining the differences between youth and age. When Ms. Murphy plays the actress Raisel, the darling of a Yiddish troupe in Warsaw in the 1930s and ’40s, her shoulders seem to ripple skyward, suggesting wings tucked restlessly beneath her skin.

And when Ms. Murphy is Bubbie, the live-in grandma of 1977 Manhattan that Raisel turns into, those same shoulders collapse into a set of fragile bones — breakable, sloping slaves to gravity. When the lights are low on Bubbie, and her face sheds its animation, her silhouette is unmistakably that of a woman slouching toward death.

It is the good fortune of theatergoers that the fragile Bubbie hangs on until the end of “The People in the Picture,” though there are many moments when it looks as though she might be crossing over to join her old departed colleagues, who hang around on stage as kibitzing ghosts. Without Ms. Murphy this well-meaning Roundabout Theater Company production — which has a book and lyrics by Iris Rainer Dart and songs by Mike Stoller and Artie Butler — would be thin treacle indeed.

As it is, even Ms. Murphy (who also gets to portray the various characters that Raisel plays onstage and on screen) has trouble generating the kind of energy that makes an audience sit up and smile, or sit up, period. Directed by Leonard Foglia, “People” has all the elements of an emotional bulldozer on autopilot: a plucky Jewish theater group working defiantly in the shadow of Nazism; mothers and daughters longing to love but locked in conflict; a family secret — buried in the rubble of postwar Poland — that must be revealed if any of our main characters are to find (no, stop me, please don’t let me say that word) closure.

Such eventful, tear-stained, multigenerational plots are less common to musicals than they are to fat novels displayed in airport bookstores as temptations to women with purses full of Kleenex and long flights ahead. And it is no coincidence that Ms. Dart is best known for just such a novel, “Beaches,” which became a four-hankie hen flick starring Bette Midler and Barbara Hershey .

Lyrics To Numb Linkin Park

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