Set to 27 songs by Sting—with the Police and from his solo career—Message in a Bottle is a story of the global refugee crisis told through the mesmerizing movement of choreographer Kate Prince’s brilliant dance company, ZooNation. Although it does get cheesy entwining the music and the dancers, as jukebox shows go, it’s much closer to Twyla Tharp’s take on the Billy Joel catalog, Movin’ Out, than to something like the Abba megahit, Mamma Mia.

 

In an unnamed desert country (hence the unsurprising opener, “Desert Rose,” with its North African feel), a family of five—father, mother, two sons and a daughter—becomes separated when a civil war throws the entire region into turmoil. Happy events like the marriage of one son are soon overtaken by awful 21st-century realities: abuse, trafficking, displacement, death. Prince and dramaturg Lolita Chakrabarti have fashioned a narrative of sorts from which to hang Sting’s words and music, which, with a few exceptions, have been extensively rearranged and rerecorded (with Sting’s and others’ solo and ensemble voices).

 

As the songs and the tale unfold, musical motifs from “Fields of Gold” and “Brand New Day” hover over the proceedings, hinting at the happy ending to come. There are times when the relationship of Sting’s lyrics to what’s happening onstage is tenuous—several men sexually abuse a young woman to “Don’t Stand so Close to Me,” which narrates a completely different kind of inappropriate relationship—or, conversely, too on the nose—the second act opens in jail as a chorus intones “Free, free, set them free” and, later on, the married son discovers his bride, forcibly separated from him, works in a brothel, so on comes “Roxanne.” (When she rejects him, we get “So Lonely,” of course.)

 

But the marriage of music and movement is spot on in several spots, notably in the show’s most affecting number, a tender pas de deux between the younger son (Deavion Brown) and the man (Harrison Dowzell) he’s fallen in love with, set to one of Sting’s loveliest songs, “Shape of My Heart.”

 

Whatever one thinks of the way Prince and her excellent music supervisor and arranger Alex Lacamoire have manipulated Sting’s tunes to fit into the contrived narrative—sometimes it’s a disservice to the songs and at others it’s a disservice to the story—the breathtaking dancing of Prince’s company, which specializes in effortlessly combining contemporary and hip-hop styles, is beyond reproach. Although the entire ZooNation is magnificent in its athleticism—the leaps, the flips, the freestyling, even the break dancing—the main dancers (as the children) are particularly dazzling.

 

Brown, Natasha Gooden and Lukas McFarlane convey as much with simple gestures as they do in the more athletic movements (too often, the stage is filled with busyness just for its sake). At those moments, the music and the stunning visuals—Anna Fleischle’s costumes, Ben Stones’ sets, Natasha Chivers’ lighting and Andrezjh Goulding’s projections—take over. 

 

But however bumpy the journey, when the final healing strains of “They Dance Alone” arrive, Message in a Bottle delivers its message.