A jukebox musical, whatever its dramatic blueprint, is first and foremost a delivery vehicle for nostalgia. This is a popular thing and to a great extent a good one. It is no easy trick, though. Almost every song tells some sort of story. The stories in most songs, even the simplest ones, imply surprisingly extensive contexts, and taken together, these contexts tangle rapidly. There exist only a few possible fundamental ways to minimize those tangles.
Perhaps the point of the title Aerial Boundaries was the actual possibility of something that had seemed impossible. Like Michael Hedges’ two-handed plucking/tapping. Like a hive of activity in a field that first seems to be sleeping in the sun. Or like finding music for myself. And some measure of serenity.
Revivals pose a unique set of challenges to those who stage them, and a unique set of questions to be considered by a contemporary audience. But great shows get invited back.