MATH APPEAL
The Monday Night Musicals series at the intimate Magnet Theater offers a vibrant platform for new work that blends comedic storytelling with musical innovation. Stripped down to the essentials — music, lyrics, and performance — the series feels like both a showcase and a springboard, providing a glimpse of shows that could thrive in full-fledged Off-Broadway productions with visionary direction and design.
The Algorhythms is a sci-fi musical comedy produced by Compass Theatrical that fuses the camp of Altar Boyz with the dark tech satire of Netflix’s Black Mirror. Written by Justin Moran (book and lyrics) and Travis Nilan (music), with additional material by Jonathan Roufaeal, the show follows three middle-aged math teachers who reunite to record a long-dreamed-of “boy-band” album — only now, “man-band.” Their session is interrupted by news of an alien invasion. The extraterrestrials, it turns out, are weaponizing algorithms to turn humans against each other. But these aren’t your typical boy-band members — they’re math teachers, and with the help of their hilariously nerdy, number-crunching songs, they just might save the world.
The man-band is composed of three accomplished singer-actors whose harmonies blend smoothly and whose dancing, while tongue-in-cheek, is as precise as it’s going to get. Sarah Bricker’s choreography leans into the joke, embracing the awkward energy of middle-aged men mimicking boy-band moves. The cast may be more vocally adept than they are nimble, but that only adds to the charm. Bricker smartly plays up the incongruity, crafting routines that feel like they were created by someone less skilled than, I’m assuming, she actually is — an effective comedic touch.
Travis Nilan (Pip), the most boyish of the trio, channels earnest energy and man/boy charm. Michael Lutton (Heinrich), embracing a thick German accent and a more robust physique, mines physical comedy with flair, turning every dance move into a feat of determination. Uton Onyejekwe (Slade) brings a slick, self-aware swagger to his role, the closest the group has to a bona fide boy-band heartthrob, complete with pop-star ambition. Jon Bander plays their ousted manager, who comically re-inserts himself into the band’s orbit upon hearing a radio segment touting their rise. An addiction to coke has never been so outlandish. Chris Simpson deftly juggles dual roles: first, as an absent sound engineer stuck in traffic, he delivers an amusing phone call insisting they wait for his expertise rather than record with an iPhone; second, as a hunched, Igor-like custodian haunting the studio’s edges, he adds an offbeat touch of absurdity.
Co-directed by Louis Kornfeld and Moran, the production operates on a modest budget, but what it lacks in sets, lights, and costumes, it compensates in heart, humor, and performance. The sound cues go a long way in heightening tension and supporting comedic beats. With more performances, one can expect the pacing to tighten, smoothing out occasional lulls in momentum.
In the end, Moran’s book delivers a sharp and unexpected twist that shouldn’t be spoiled. Just when you think the story’s arc is clear, it veers into territory that’s both surprising and delightfully familiar. The Algorhythms is more than just a quirky musical; it’s a clever satire on ambition, disinformation, and saving the world—wrapped in a goofy, heartfelt package.
photos courtesy of Compass Theatrical
The Algorhythms
Compass Theatrical
part of Monday Night Musicals at Magnet Theater, 254 W 29th St
Mon at 8
ends on June 16, 2025
for tickets ($25), visit Magnet
