At a time when science denial and religious dogmatism are reemerging in public discourse, revisiting the legacy of Galileo Galilei feels undeniably timely. The Renaissance-era astronomer, whose revolutionary ideas clashed with the power of the Catholic Church, serves as the central figure in Galileo: A Rock Musical, a new production that blends theatrical earnestness with ’80s-inspired rock spectacle. However, this ambitious undertaking doesn’t always strike the right chord.
Directed by Michael Mayer—known for launching American Idiot at Berkeley Rep 15 years ago—the show features a vocally impressive cast led by Raul Esparza. Yet despite this strength, the musical struggles to reconcile its high-minded subject matter with its flashy, sometimes awkward execution. Thematically ambitious but tonally inconsistent, the production’s grand rock-opera styling—reminiscent of Jefferson Starship, Styx, and Meat Loaf collaborator Jim Steinman—often clashes with the intellectual weight of its core narrative.
Rather than drawing from a specific play or historical account, Danny Strong’s book crafts a fictionalized version of Galileo’s life, portraying him as a bold and defiant pioneer—a 17th-century rebel calling for progress with rockstar bravado. The show opens with Esparza’s Galileo exclaiming “Map the Sky” from his desk, full of swagger and self-assurance. His bond with his daughter Virginia (Madalynn Mathews) is built on intellectual camaraderie, as he’s educated her in his own disciplines. Yet this creates emotional tension: Virginia, barred from academic careers by her gender, feels torn between her father’s radical pursuits and her own hopes of marrying neighbor Alessandro (Christian Magby), which are threatened by Galileo’s increasingly controversial reputation.
The narrative pits Galileo against powerful figures in the Church. Cardinal Morosini (Javier Muñoz) and Bishop Grasso (Bradley Dean) view his ideas as direct challenges to scripture, branding them heretical. Galileo’s lone ally in the hierarchy is Bishop Barbarini (Jeremy Kushnier), whose rise through Vatican ranks offers a glimmer of protection—until Galileo’s defiance forces even that alliance to falter. His insistence on teaching Copernican theory and his satirical writings targeting Church doctrine push him into dangerous territory.
Galileo’s telescope, a revolutionary tool that reveals new details of the moon and stars, ignites wonder throughout Europe (“Heaven’s Changing,” “Whispers”). But this too becomes a source of fear: Church officials worry that his revelations may support Protestant views during a time of religious conflict. When Barbarini ascends to the papacy, he delivers a chilling line that underscores the play’s core tension: “Power decides truth, not the other way around.”
As the story builds to its climax, Galileo’s fate becomes clear—compromise or perish. The emotional final number, “The Truth Will Follow Us,” delivers a modern-dress ensemble anthem about resilience and the pursuit of knowledge, echoing Broadway’s familiar call to “never stop dreaming.”
Musically, Michael Weiner and Zoe Sarnak’s score offers a few bright spots. The choral arrangements are rich, and Robert Sinha’s eight-piece band provides solid backing. The second act stands out more musically, adding variety with songs like the vaudeville-tinged “Two Sides” and the gospel-inflected “The Power and the Glory.” These moments allow David Neumann’s choreography to shine, though overall, the show is light on movement.
Visually, Rachel Hauck’s LED-lit, two-tiered set evokes both scholarly and ecclesiastical settings. The upper level serves as a canvas for Jason H. Thompson and Kaitlyn Pietras’s dynamic projections, which juxtapose scientific discoveries with religious imagery. These visuals emerge as the show’s most effective storytelling device, offering depth and clarity often lacking in the script.
Unfortunately, the book and lyrics frequently stumble. The characters, particularly Virginia, feel underdeveloped. She alternates between urging her father to champion science and begging him to protect the family, but the emotional weight of these shifts never fully lands. One scene, in which Barbarini sings an acoustic tribute (“By Your Light I See”) to Galileo’s visionary thinking, comes across more like a romantic ballad than a philosophical reflection—an effect that lacks proper framing or resolution.
In the end, Galileo: A Rock Musical is a bold but uneven effort. Its attempt to bridge centuries-old philosophical debates with the energy of arena rock yields moments of inspiration but also confusion. While the concept is intriguing and the production values commendable, the execution doesn’t fully capture the complexity of its protagonist—or the lasting impact of his quest for truth.