When ‘The Last Ship,’ a musical that serves as an elegy to Wallsend, the Northern England shipyard town Sting grew up in, debuted on Broadway in 2014, the critical reception was disappointing. Sting’s original music and lyrics drew praise, but the story, by separate book writers, was considered far too muddled. The Broadway run of ‘The Last Ship’ closed in 2015 with $15 million in lost investments. He realized that several elements needed to change if he wanted another go-round, which he did; he felt he had a “personal debt” to the community that raised him to tell this story.
Beginning later this month, a heavily revised ‘The Last Ship,’ starring Sting as the foreman Jackie White, will be staged for nine performances at the Metropolitan Opera House. It is the first time the Met Opera, amid intensifying financial woes, has lent its space to a fully staged production of a former Broadway musical. One of the show’s most radical changes from Broadway is switching the genders of a few characters from male to female.
“The agency of women is so important to the plot,” says Sting. “It’s the women who save the community, and when the men are in a complete mess, they come to the fore and save the day.”
Sting had to reacquaint himself with writing for the stage and other people, as opposed to writing for only himself. “Instead of sitting down and contemplating my navel and writing about my inner turmoil, my dark night of the soul, I’m writing for women, I’m writing for young girls, and I’m writing for older people,” Sting explains. “It was freeing to not have to just sing about me for a change.”
Read our full interview with Sting:
nymag.visitlink.me/kxOEcY