Review: Bay Street's 'Double Helix' Is a Breakthrough of Scientific Proportions

Bay Street Theater’s 2023 Mainstage season began on a sensational high note with the world premiere of Double Helix, featuring book, music and lyrics by Madeline Myers and directed by Scott Schwartz.

Based on the history of the race to discover the shape of DNA, the show has a sense of urgency as the University of Cambridge research team, two King’s College teams and an unseen fourth team compete to publish their findings. John Randall, as portrayed by Thom Sesma, is used as a ticking clock, updating his King’s College teams on the progress of their competition.

For him, and most of the men in the show, his primary goal is to win the race and reap the rewards, the most coveted of all being the Nobel Prize. The opening number “The Race” establishes this shared character motivation right away, and sets apart two researchers, Rosalind Franklin and Maurice Wilkins, for their unique driving forces. These two are the heart of the show.

Rosalind, portrayed by Samantha Massell, is the latest addition to John’s unified King’s College research team. Transferring from a renowned French laboratory with a high level of expertise, she comes in with the expectation of being the project leader, which causes a rift in the team when current lead Maurice, played by Anthony Chatmon II, refuses to see her as an equal and attempts to name her as his assistant.

The team splits with each leader selecting an assistant — the protagonist pair of Rosalind and the affable Raymond Gosling, portrayed by Anthony Joseph Costello, and their rivals Maurice and the brash William Bates, played by Tuck Sweeney.

Myers’ interpretation of Rosalind Franklin in Double Helix is complex and masterfully written. She is a confident, intelligent female lead who views life through the lens of science and joins the DNA race for the sake of discovering the answer to a long-asked question. Her natural bravado allows her to assert herself in a male-dominated field, but when that boldness comes across as bluntness, egos get bruised and enemies get made.

And while she cherishes her Jewish heritage, she greatly prioritizes truths that she can prove through chemistry over ideals like faith and love, which further isolates her.

Massell brilliantly portrays the character, capturing every nuance and emotion of Myers’ writing. She has a stellar singing voice, as evidenced by Rosalind’s theme throughout the show, “What Is Life,” and a number of duets. She has palpable onstage chemistry with Matthew Christian, who plays Jacques Mering, which results in some of the show’s most beautiful songs, “Walking Along the Seine” and “Close to You.”

Rosalind’s closest antagonist is Maurice; however, he’s far more sympathetic and layered than the show’s true villains. His goal in the race, which he intends to win “Slow and Steady,” is to earn recognition for a positive contribution to science to undo some of the lasting damage that a past project caused. He views the speed of his last breakthrough, and its implementation without taking pause to consider the consequences, as his greatest mistake and reason for taking a more methodical approach to science than Rosalind and his other colleagues.

Without giving too much away, Chatmon’s portrayal of Maurice is the most likely to tug on the heartstrings. While he’s shown in the first scene on the side of the villains who won the Nobel Prize off Rosalind’s stolen discovery, as things are revealed about his past and present circumstances, he becomes a tragic, relatable character — so much so that when the first scene is repeated as the last scene, it stings a great deal more.

Chatmon’s singing voice is buttery smooth and packed with so much emotion. His line reads sell the character’s desperate mental state and fragile ego.

For this musical to work to its maximum effect, Rosalind would also need unapologetic antagonists — underhanded, sexist, ant-Semitic villains to face off against. For that, Myers went with the obvious choice of the duo credited for the discovery and first accurate model of the DNA double helix, Cambridge scientists James Watson and Francis Crick. The few audience members who may be fans of their work, will probably not like the unflattering portrayal, but as far as musical villains go, they’re a lot of fun.

James is portrayed by Max Chlumecky as arrogant, entitled fame-seeker who costume designer Ashley Soliman dressed like a rich little boy. No other character wears shorts, knee-high gym socks, sneakers and an oversized cardigan to work, least of all his partner Francis who is always looking dapper in a slim, brown suit. Seemingly reveling in the character’s deviousness, Chlumecky is intimidating, persuasive or comical when the scene demands it.

Chlumecky’s chemistry with Francis actor Austin Ku is a joy to watch in numbers such as “Ungforgiveable.” The characters may share the same goals and sinister traits, but they couldn’t be more different. Ku’s Francis is a debonair, captivating henchman with an air of impishness, and Ku eats this role up like it’s his last meal. If establishing himself as a top character actor is a goal of his, then this scene-stealing performance should be at the top of his resume.

The only character never directly involved with the DNA race plot is Adrienne Weill, played by Amy Justman. Instead, she serves as a much-needed support system for Rosalind. Adrienne may not have her own arch, but her influence as a parallel Jewish woman of science is a benefit to Rosalind’s story, as seen in her big number “If You’re Lucky.” Plus, any show that includes Justman’s opera-quality signing voice needs more songs sung by her character, not less.

For a musical that’s about 70% songs, nothing is filler. Every song either moves the story along, adds depth to a character’s backstory or reveals their mental state and how that might affect their actions. The lyrics are thoughtfully crafted to emphasize characterization, and the music itself is a treat to the ears thanks to music director Patrick Sulken, orchestrator Scott Wasserman and the band.

While there are a couple of larger dance numbers, choreographer Addy Chan keeps character movements grounded in reality, incorporating elements from scene locations at the King’s College lab or the local bar.

The unique set by scenic designer Alexander Dodge and the team added to the sense of urgency and progress with a circular treadmill running along the perimeter of the stage and backstage allowing characters, set pieces and props to seamlessly enter and exit the action. The lighting and sound design by Mike Billings and Jon Weston prove to be equally integral to the show’s spectacle.

Could Double Helix be the next smash-hit, history-based Broadway musical like Hamilton? Nearly every aspect of this production is phenomenal, but that’s an impossible prediction to make. Whether or not this is the show that launches Myers to stardom, it’s still a massive accomplishment. This musical about scientific breakthroughs is a breakthrough all its own.

This Bay Street production runs through June 18. For tickets, call the box office at 631-725-9500 or visit baystreet.org.