In lieu of a full review, here is a promotional video I created for Dare 2 Defy’s Children of Eden, which runs for only three performances this weekend in Dayton, Ohio. I attended the dress rehearsal and found the score catchy, the choreography highly inventive, and the cast of nearly fifty full of energy. I was worried that this would be somewhat like Stephen Schwartz’s Godspell, but it wasn’t in the slightest. Though the stories of Adam and Eve, Cain and Abel, and Noah and his ark are told, they are treated more like literature than a Bible lesson, making the subject matter highly accessible to any audience, be they believer or Atheist. *** 1/2 out of ****
Once on This Island JR. is an abridged version of the acclaimed Broadway musical Once on This Island, which premiered in 1990 and ran for over a year. Based on Rosa Guy’s novel My Love, My Love, and with music by Stephen Flaherty and music and lyrics by Lynn Ahrens, the musical tells the story of Ti Moune, an orphaned peasant girl on a small island in the French Antilles, who rescues Daniel, a rich planter’s son from the other side of the island, when he wrecks his car during a storm. Ti Moune falls in love with Daniel, even promising her soul to Papa Ge, a Demon of Death, if Daniel’s doesn’t die. Daniel’s life is spared, and Ti Moune works to nurse him back to health. Daniel’s family soon appears to take him back to their side of the island and to a life of privilege and wealth the complete opposite of Ti Moune’s home. Against the advice of her adoptive parents, Ti Moune sets out to return to Daniel, certain that her love for him will be returned in kind; little does she know that Papa Ge, to whom she has promised her soul, and Erzulie, the Goddess of Love, have a wager going with Ti Moune’s life to determine which is stronger: the power of love or the power of death.
Is it worth seeing?
Absolutely! Granted, this is a version of the show with a few songs cut and altered, but the basic story and the best, most lively songs are still intact. This production runs about an hour in length and is appropriate for ages six and up, but by no means is this a show that only children can appreciate.
I must say that, as a big fan of the original show, I went into this altered “JR.” version more than a bit concerned. The color element, an intrinsic part of the original story (the poor side of the island has dark-skinned peasants while the affluent part has light-skinned rich folks), has been surgically removed from this edition, opening up the musical to be performed by all races and ethnicities; the classism is still there, but this time around skin color isn’t a factor. The result isn’t blasphemous like say an all-white production of A Raisin in the Sun or The Color Purple might be, but important songs that serve to explain more of the plot (“The Sad Tale of the Beauxhommes,” “Some Say,” and “Some Girls”) have been cut. The big love song “Forever Yours” has also been trimmed down to almost nothing; still, this adaptation (approved by the creative team) is successful in turning a show with some mature themes and concepts into one palatable for children and adults alike. This is one musical for which every track on the original cast recording is worthy; in fact, it might appeal to adults more than kids.
Director Ryan Scarlata guides his Summer Youth Performance Conservatory cast of teens and pre-teens deftly, always keeping the action moving. The cast is energetic with talent and spirit to spare, and their ensemble singing is notable for the clarity in their diction. So often ensemble numbers can sound unfocused with moments being unintelligible, but that is not the case here; in fact, the overall sound design is spot on, with the pre-recorded orchestra track at an appropriate level to allow the vocal performances to dominate. Jeffrey Gress’s multi-level set looks a bit reminiscent of Mamma Mia with its beachy coloring and bold blue sky, but it suits this story very well, as do the saturated colors and patterns of the costumes (save for those worn by the affluent side of the island, a wise choice to visually show the difference between the social classes).
Standouts in the cast include Sara Tuohy as Ti Moune, her voice possessing a purity that is thrilling; Amirah Joy Lomax as Asaka, Goddess of the Earth, whose performance of “Mama Will Provide” is engaging enough to inspire spontaneous dancing from the audience (they didn’t do it at the performance I attended, but I would not be surprised to learn if it happened); Kyle Channell as Tonton Julian and Megan Masciola as Mama Euralie are caring foster parents to Ms. Tuohy’s Ti Moune, their voices full of genuine affection and heart when they warn her of seeking out Daniel; Katie Wagner as Erzulie, Goddess of Love, whose rendition of “The Human Heart” is instilled with wisdom beyond her years; and Maria Dalanno as Andrea, Daniel’s betrothed (Sorry! Spoiler alert!), brings nuance to a character that can be played as just a snotty mean girl; Ms. Dalanno appears too clever to play just that one note, as here she ranges from skeptical to annoyed to concerned and finally empathetic to Ti Moune’s feelings.
The source novel derives inspiration from Hans Christian Anderson’s The Little Mermaid with its sad conclusion intact, and yet the ending of Once on This Island JR. is filled with hope for the future. The message of parents needing to allow their children to explore the world and make their own mistakes is quite clear, as is the point that sometimes it takes just one person to go against the grain to change the future, no matter how many naysayers are on the sidelines.
Once on This Island JR. is not as sterling a show as in its original version, but this children’s adaptation comes awfully close. Only those familiar with the original show will sense the changes, and judged on its own merits this is one production that I can highly recommend.
My rating: *** 1/2 out of ****
Where can I see it?
Once on This Island JR. continues through to August 7th in Columbus Children’s Theatre’s Park Street Theatre located at 512 Park Street in downtown Columbus, and more information can be found at http://www.columbuschildrenstheatre.org/once-on-this-island-jr.html
How lucky am I to be able to see full productions of the two biggest Broadway hits of the 1957-1958 season all in the same week? One night I get to see The Music Man at Weathervane Playhouse in Newark, and the next night I’m enjoying Columbus Children’s Theatre’s West Side Story! Both are now revered as classics, were made into very popular and faithfully adapted films, and for well over fifty years have been performed thousands of times a year all over the country from high schools to regional theatres. One can’t really be considered a fan of musicals without becoming acquainted with these evergreens; their songs pop up all the time in popular culture, and chances are you’ve heard some of them even if you didn’t know from where they originated.
Meredith Willson’s The Music Man was the big Tony Award winner in 1958 and the longer-running hit, but West Side Story, with a searing Leonard Bernstein score, lyrics by the up-and-coming Stephen Sondheim, book by Arthur Laurents, and choreography courtesy of the legendary Jerome Robbins, has emerged as the more serious classic. Inspired by Shakespeare’s Romeo and Juliet, the action has been transplanted to the Upper West Side of New York City in the 1950s as rival gangs, the Jets (who are white) and the Sharks (who are Puerto Rican), fight for dominance. Caught in the crosshairs are Tony, a sometime member of the Jets, and Maria, the sister of the leader of the Sharks, Bernardo. Tony and Maria meet at a school dance, fall in love, and try to stop the gangs from fighting to discover things will only get worse before they begin to get better. With nearly every now song an established classic (“Maria,” “Tonight,” “Somewhere,” “I Feel Pretty,” and “America” to name but a few), West Side Story continues to capture the heart of each new generation, thanks to the 1961 film and the play’s continued popularity. This current production, featuring Columbus Children’s Theatre’s Summer Pre-Professional Company of performers ages sixteen to twenty-two, is about as engaging and rousing a production as one is likely to find, “pre-professional” or not.
These Jets and Sharks dance, fight, and spit with equal intensity (stage combat aided by William Goldsmith), and each performer appears fully cocked and ready to attack anyone who gets in their way. I remember some snickering from my classmates when we watched the movie in high school during the opening dance sequence; no one would dare to scoff at these Jets and Sharks, especially once they see them believably kick and punch each other to the ground! It’s interesting to note that all but two of the Jets and Sharks are wearing identical black Converse Chuck Taylor All Star shoes, a nice visual reminder that they have so much more in common than they seem to realize.
As sweet and innocent as Tony (Andy Simmons) and Maria (Elizabeth Blanquera) are in this production, they can’t help but appear less exciting when stacked next to the excellent supporting cast: Austin Ryan Backus as Riff exudes confidence and swagger; Matthew J. Mayer II makes an intense Bernardo; Odette Gutierrez del Arroyo is a firecracker as Anita but also heartbreaking; Will Thompson plays Doc like a wise, concerned older brother, making an impact in a part usually ignored; and Charlotte Brown should be watched closely in the small role of Rosalia, especially for her hilarious facial expressions during the dance at the gym.
The only serious flaw in this production occurs during the ballet (which is not in the film). This ballet leads into “Somewhere” and begins strongly with Riff and Bernardo reappearing after the violent end of the first act; then, inexplicably, a little boy climbs out of Maria’s bedroom window, down over the fence, sings “Somewhere” at Tony and Maria (now dressed in just a slip), and then scampers back up to from where he came. Though staged a bit differently, this addition of the character “Kiddo” and reassignment of the song was made by original book writer Arthur Laurents for the 2009 Broadway revival he directed; it was widely criticized then, and it’s inclusion in this production is a glaring sore spot. It has nothing to do with the ability of the kid playing Kiddo; the moment comes off as schmaltzy and like a lecture to the characters, bringing to mind this verse in Isaiah: “And a little child shall lead them.” I began to wonder why a little kid was squatting in Maria’s bedroom and if someone should let her know.
Luckily everything gets back on track when some of the Jets sing “Gee, Officer Krumpke,” far funnier with lyrics and gestures that were greatly toned down for the film. This is one of several scenes in which Jordan Feliciano as Baby John is a riot, donning a mop on his head and squeaky voice. As humorous as this sequence is, Ms. Gutierrez del Arroyo’s “A Boy Like That” that follows it is conversely serious and impassioned. Songs were moved around for the film to provide a more consistent tone for that medium, but the flow of the original play works marvelously on the stage.
Director David Bahgat incorporates many design elements from the film (unavoidable with its popularity) and expands upon them, the Jets costumed in blue and yellow and the Sharks in purple and red; the lighting is also used in this color motif effectively without being too obvious. Mr. Bahgat keeps everything moving at a brisk pace (save for the aforementioned break in the ballet), and he guides his cast into making each line sound like it is theirs and theirs alone. I’ve seen several productions were the actors copy each line reading as it was done in the film; that isn’t the case here at all, and many times so much more humor and character comes across because of it. He keeps his actors moving all around the audience, maintaining an immediacy that a lesser director wouldn’t bother trying to create. The marvelous set designed by Jeffrey Gress represents all of the different locations needed for the story, elements of which extend out around the audience, making this what I would consider an environmental staging; a low chain link fence separates the audience from the cast on the left and right sides, Doc’s storefront is between the center and right seating areas, actors often enter the center rows of the audience and sit alongside them, and (depending on where one is sitting) Chino (Frank Ruiz) can be seen stealthily sneaking down the alley between the center and left section of seats leading up to the intense climax.
The four-piece band led by Zac DelMonte kicks into high gear during the “Tonight” quintet and rumble, though the limited orchestration takes a little time to get used to at the start of the show. Nicolette Montana does a fine job of recreating iconic moments from Jerome Robbins’ original choreography, adding and changing bits here and there to suit the space and production demands; aside from a moment during the prologue when the Jets shout “Ha!” and jut their hands out into the audience, Ms. Montana’s work is commendable and adds so much to this overall splendid production.
Except for a few missteps (mostly minor), Columbus Children’s Theatre’s West Side Story is nearly impossibly good. With action occurring from all sides of the theatre and an energetic cast that knows this show like seasoned pros, this West Side Story is one to see no matter how many times you’ve seen the play or movie before. Most of the performers appear to be exactly in the right age range of the characters they are playing, from late teens to early twenties, but this is the exception rather than the rule when compared to the film or Broadway productions of this show. The “us verses them” struggle between the Jets and the Sharks is still relevant today; one need only to watch the daily news to see how fear of the “other” continues to incite violence and be used politically to pit people against one another.
*** 3/4 out of ****
West Side Story continues through to July 17th at Columbus Children’s Theatre located at 512 Park Street in downtown Columbus, and more information can be found at http://www.columbuschildrenstheatre.org/west-side-story.html
It might be hard to believe now, but West Side Story and The Music Man competed against each other at the 1958 Tony Awards, with The Music Man walking away with the Best Musical prize as well as three of the four acting awards! It’s not that Meredith Willson’s The Music Man isn’t a good show; it’s just that with time (and the hugely popular 1961 film adaptation), West Side Story has emerged as arguably one of the greatest musicals ever and the one from that season that made the biggest lasting impact on popular culture. Still, the story of “Professor” Harold Hill selling band instruments and uniforms from town to town, convincing families to invest in their children’s musical “gifts” (Harold himself can neither play an instrument or read music), and wooing Marian the Librarian is the kind of old-fashioned, sweet and simple crowd-pleaser that has made it an enduring favorite for nearly sixty years now; how nice to have it return in an enjoyable production at the Weathervane Playhouse in Newark right around Independence Day.
The Music Man is a slice of Americana set in Iowa during the summer of 1912 when the biggest news of the day included the local gossip and happenings within the town, not what was going on anywhere else in the world. It was a time of traveling salesmen, including the type that would make a big sale and then skip town as quickly as possible once the customers found that they had been mislead. Harold Hill is just that kind of salesman, promising to form a marching band and teach music to the children of the town only to disappear once the instruments and uniforms arrive. It is a con he has been working for years, making it difficult for the honest traveling salesmen who find themselves unwelcome in towns burned by Mr. Hill’s tactics. All of that is about to change when Harold arrives in Iowa, bewitches the town, and earns the affection of the town librarian, Marian. With a score containing “Seventy-Six Trombones,” “The Wells Fargo Wagon,” “Till There Was You,” and “Ya Got Trouble,” The Music Man is an enjoyable work, one that also shows how easy it is to convince people of anything you want so long as you keep telling them what they want to hear (brings to mind this election season, doesn’t it?).
Layne Roate plays Harold Hill, tough shoes for anyone to fill as Robert Preston, who originated the role on Broadway, preserved his performance in the popular 1962 film adaptation. Mr. Roate wisely doesn’t try to copy him; his Professor Hill seems far more human and relatable than the template, yet he doesn’t reinvent the character entirely. He may not be able to master Mr. Preston’s speed or diction in “Ya Got Trouble,” but Mr. Roate’s “Till There Was You,” in which he expresses his love to Marian, is sincere in a way Mr. Preston’s was not in comparison. His Harold is still a sneaky salesman, but what he really sells isn’t instruments or uniforms but hope. Sure, he may be planning to disappear as soon as the checks clear, but he has a knack for making a lot of people happy in the process.
Natalie Szczerba is a kind and emotionally accessible Marian Paroo, completely believable in the moment when she decides not to expose Harold for what he really is to the town when she sees his positive effect on her lisping brother, Winthrop. Ms. Szczerba doesn’t make Marian a pushover at all, but she isn’t as militarily strident as Shirley Jones was in the film either. This Marian’s “Goodnight, My Someone” feels like a hope-filled prayer, and Ms. Szczerba and Mr. Roate’s chemistry is immediately apparent. Do we know they are going to end up together? Sure, but the joy is in watching it happen.
Standouts in the supporting cast include Brad Johnson as Tommy, the rowdy boy courting the mayor’s daughter, and Ricardo Locci as Charlie Cowell, the salesman looking to expose Harold’s past to the town. Neither part is particularly large or defined, but these two performers bring a lot to the table. Mr. Johnson’s energy and bright smile as Tommy would be cloying if it didn’t come off as so naturally naive and youthful. Mr. Locci’s Charlie is the kind of anvil salesman you’d definitely want to steer clear of; when he starts to get close to Marian, Mr. Locci comes off as genuinely slimy and a real threat to her safety! This Charlie has an ax to grind alright, but his motive is to hurt Harold, not save the townspeople from being swindled.
Director Kevin Connell and choreographer Tracy Wilson have their work cut out for them with such a large number of children in the ensemble; and yet, everyone has their own space and something to do, even when the action extends into the auditorium and within the aisles. While there may not be a lot of complexity to much of the dancing, everyone seems to be doing their part and appear glad to be there. The production moves quite well, and that includes the moments when there are forty people on the stage, which is no small achievement.The set is made up of three panels to the left that represent the colors of American flag, a large newspaper advertisement that serves as the pool hall in the center, and the Paroo home to the right. The Paroo’s house swings around to reveal the living room and is quite well-executed; the vintage ad being on the building for the pool hall looks quite odd, and the panels to the left that rotate to reveal books (for the library) leave a lot to be desired. Still, Jennifer Sansfacon’s lighting brings a surprising array of colors to scenes; the cues shift subtly to support the action at hand, a highlight being the pastel blues, pinks, and greens during “Shipoopi” and some other crowd numbers. Ms. Sansfacon also keeps the entire stage dark save for a single light several times to focus the audience’s attention on the more intimate moments.
There is a lot of joy to be found in Weathervane Playhouse’s The Music Man; I honestly think one would have to put forth effort not to have a good time. The overall positive, cheerful effect of this production far outweighs its relatively minor deficits. This is family entertainment that isn’t icky sticky sweetness, yet it also isn’t trying to be “hip” and alienate half of the audience. The Music Man exists in a specific time and place, and how nice it is to see it live in a production as happy as this one.
*** 1/4 out of ****
The Music Man continues through to July 9th in the Weathervane Playhouse at 100 Price Road in Newark, OH (around 45 minutes outside Columbus), and more information can be found at http://weathervaneplayhouse.org/meredith-willsons-the-music-man/
“The only thing constant is change,” Dr. Henry Jekyll says to the board of governors early on in Jekyll & Hyde: The Musical; although he was referring to medical science in the show, he could just as easily be referring to the play itself. This is a work that has been workshopped, recorded, revised, augmented, and re-recorded so much since its world premiere in 1990 and subsequent original Broadway production in 1997 that one can never be quite sure what revisions will be a part of any licensed production. Such is the fate typical of composer Frank Wildhorn’s musicals, as The Scarlet Pimpernel and The Civil War are two other problematic shows with which he continues to tinker. Jekyll & Hyde: The Musical (the most current licensed version anyway) opens the Weathervane Playhouse season in a production that offers quite a fresh take on the material and features the best two lead musical performances I’ve seen locally this year.
Based on the Robert Louis Stevenson classic novella Strange Case of Dr. Jekyll and Mr. Hyde, Jekyll & Hyde: The Musical features music by the aforementioned Mr. Wildhorn with book and lyrics by Leslie Bricusse; the original 1997 Broadway production ran for just under four years, itself a product of two previous developmental recordings, and yielded several subsequent tours as well as a flop 2013 Broadway revival. No matter the incarnation, the show is about how Dr. Henry Jekyll’s search for a way to separate the good in all mankind from the bad in an effort to obliterate the latter. His experiments bring about Mr. Hyde, an alternate personality comprised of only the worst qualities of himself. As the two forces struggle for control over the same body, Emma, Jekyll’s fiancée, and Lucy, Hyde’s whore, are caught in the crosshairs of the struggle for dominance. The show seems like Mr. Wildhorn’s answer to Andrew Lloyd Webber’s The Phantom of the Opera; indeed, many musical motifs are recycled for different songs throughout, and it doesn’t take a musicologist to hear the influence of Lloyd Webber’s show on this one.
Director Adam Karsten has radically reimagined this Jekyll & Hyde: The Musical to present it on a mostly bare stage with a platform that opens to reveal a pool of water used quite effectively in several scenes. Translucent plastic tarps surround and cover the stage, revealing the vestiges of hanging portraits and chairs. The expert lighting design by Jennifer Sansfacon utilizes bold strokes of red and purple to establish settings, casting specific shadow designs onto the stage. Ms. Sansfacon also makes sure the pool of water glows an eerie indigo, and she seems the perfect partner for Mr. Karsten to create this new vision for the show.
The problems begin almost immediately in the opening scene when Dr. Jekyll visits his father in a mental institution. In that scene it makes some sense that patients of reduced ability would perhaps be crawling and sliding around on the stage; it comes off as terribly overwrought, uncomfortable, and even laughable when the writhing around continues throughout the play and extends into the audience with planted actors. Still, Mr. Karsten should be congratulated for trying something different with the material; the use of water and light is really quite terrific, and why not add some blood and stripping cast members into the mix? I suppose the disrobing is to amp up the sex appeal, even though the sight of the youthful cast slowly disrobing, dipping their hands into buckets of stage blood, and slathering themselves with the goo – while a striking image – made me think, “What a mess… Good thing everything is covered in plastic.”
There are some really quite good songs scattered about, such as “Someone Like You,” “A New Life,” and the popular anthem, “This is the Moment.” Music director Kevin Wines presents the music effectively reducing the bombastic nature of the score to sounding understated and supportive of the talented cast’s singing. Every time I see this musical I find more and more of the book has been trimmed away, leaving a mostly sung-through show behind; it’s great to hear the near constant music be as well-managed as it is here.
The reason to see this show is for the performances by Connor Allston as Dr. Henry Jekyll, Myha’La Herrold as Lucy, Natalie Szczerba as Emma, and Layne Roate as Jekyll’s lawyer and friend, John. Mr. Allston is dedicated and determined as Dr. Jekyll, and his transformations between personalities are almost entirely represented by a slight shift in tone and a change in his intention; no laughably drastic facial changes, growling voice, or stooped limp here. Mr. Allston is able to convey the change internally in a way that resonates naturally, seemingly with little effort, and his voice is quite strong and moving; his goal to help mankind feels genuine, even if his experiments are destroying his and the lives of those around him in the process. Mr. Allston has the kind of masculine stage presence and vocal prowess that, even at his incredibly young age, should make anyone dream of seeing his interpretations of classic roles in Man of La Mancha, Guys and Dolls, South Pacific… You fill in the blank.
Ms. Herrold is every bit Mr. Allston’s match as the prostitute Lucy. At first she might seem miscast physically being that she is black and bald, but nothing could be further from the truth. Ms. Herrold challenges what might be considered traditional beauty by being by far the most interesting and striking woman on stage, and this is a show full of attractive actors. She has a mournful lament to her singing as Lucy in “Someone Like You” that is as heartbreaking as her moment of hope is thrilling in “A New Life.” Her voice is sometimes too powerful for the technical director to manage as some of her stronger notes cause light, brief distortion over the speakers; nevertheless, Ms. Herrold is touching and a memorable talent to watch. The way she handles her final confrontation with Mr. Hyde is intense and requires great technical skill to pull off as the pressure of the moment is mostly on her.
Ms. Szczerba has quite a bit less to work with in terms of characterization as Emma, but she does wonders with what is there. She’s appealing in a way that would make her a natural fit for Dr. Jekyll, and her singing voice is particularly striking during “In His Eyes,” her unlikely duet with Ms. Herrold’s Lucy; their voices are so different in style that they don’t compete with each other as I’ve heard other performers do with this same song, resulting in a beautiful mix of their voices that allows both to be heard. Mr. Roate has even less to work with as John, but he can be counted on to deliver his lines with weight and seriousness, effortlessly slipping into a warm singing voice. There is one brief moment where Mr. Roate invades Mr. Allston’s space in a way that comes off as so intimate that I thought the two might kiss; they don’t, but that silent moment has an incredible amount of subtext because of Mr. Roate’s actions.
Jekyll & Hyde: The Musical isn’t a great show, no matter which revised production or cast recording is being evaluated. This production takes risks with the material that fail as often as they succeed, and yet the sheer force and will of its four talented leads elevate this to being a show worth seeing; seriously, they are that good. This definitely isn’t the same Jekyll & Hyde: The Musical that I saw on its original Broadway tour, or the video of the closing Broadway cast (starring David Hasselhoff), or even the 2013 short-lived Broadway revival (thank goodness); this production is a different animal, but one that is consistently interesting to experience even when it misses the target.
*** out of ****
Jekyll & Hyde: The Musical continues through to June 11th in the Weathervane Playhouse at 100 Price Road in Newark, OH (around 45 minutes outside Columbus), and more information can be found at http://weathervaneplayhouse.org/jekyll-hyde/
Leave it to Arthur Miller to tackle the kind of deep topics that would’ve been impossible to discuss openly in the repressive 1950s. First performed with another one-act play in 1955 on Broadway that closed after only a few months, Miller’s A View from the Bridge was revised and expanded to two acts, eventually finding success in productions staged in England as well as in the form of several Broadway revivals; now this important piece about immigration and the perils of too much love is being presented by Gallery Players with a talented cast in a production that is largely successful.
A View from the Bridge takes place in the 1950s within the Brooklyn apartment of the Carbones, an Italian family made up of Eddie, a longshoreman; his wife, Beatrice; and their orphaned niece, Catherine, a teenager. Eddie has specific ideas about the kind of life he wants for his niece, his affection for her causing alienation between him and his wife. The situation only grows more complicated when cousins of his wife, the brothers Marco and Rodolpho, arrive to stay with them as illegal immigrants. As Rodolpho and Catherine’s friendship grows, Eddie’s concern for his niece’s well-being only grows, generating a series of outbursts that affect not only the lives of those in his household but the whole community.
Standouts in the cast are Richard Napoli as the hard-working but troubled Eddie; Mike Writtenberry as Rodolpho, the immigrant from Italy; Brian A. Palmer as Marco, Rodolpho’s imposing brother; Eliya Smith as Catherine, the innocent teen; and, last but not least, Sonda Staley as Beatrice, Eddie’s ignored wife. Mr. Napoli, sounding a bit like Stallone in Rocky, is excellent at making his point known using the script as written with its veiled allusions to homosexuality; this type of writing demands someone with the proper swagger and demeanor to pull it off with a modern audience used to far more explicit and direct works, and Mr. Napoli fits that bill. Mr. Writtenberry holds firm to his accent and expressive mannerisms as Rodolpho, perfectly demonstrating the kind of behavior that riles Eddie; their “boxing match” (choreographed by Ryan Metzger) is intense and squirm-inducing. Mr. Palmer doesn’t have a lot to say as Marco, but that’s because there is no need; his imposing stature and use of silence and a stare says more than enough. Ms. Smith as first seems too naive to be a girl on the cusp of adulthood, but that is precisely the point; her youthful energy grows into a woman’s resolve through this performance, even though her slip is still showing along her hemline throughout. Ms. Staley has a matter-of-factness as Beatrice that makes her performance all the more touching in the scene with Ms. Smith where she gently lets her know that it is time for her to grow up; when she asks her husband, “When am I gonna be your wife again?” one can feel her loneliness. Ms. Staley can only be faulted for her lackluster sweeping skills, an ability that surely would be second nature to a housewife of this era.
Director Nancy Williams guides this production with a firm understanding of the material and at a pace that ensures no moment out stays its welcome. Ms. Williams missteps with her choice of underscoring music for two pivotal scenes in the second act; the music during the raid sounds like a scene out of The Maltese Falcon, and the violent attack at the end sounds like the rumble in West Side Story. The rest of the music in this production is well-placed and appropriate, so why have these two scenes play out with such obvious cues that dissolve the tension in their respective scenes? It’s almost as if the director doesn’t trust her talented cast to carry these moments on their own. Another unfortunate decision is casting Nick Baldasare as Alfieri, the lawyer and narrator of the story. Mr. Baldasare cuts a handsome frame, but his vocal modulation and speed make quite a bit of what he says unintelligible even though he is quite loud.
A View from the Bridge is absorbing theatre, and even with some notable flaws this production is worthwhile. There is a kind of palpable charm that comes through in the material and time period that is inviting and even a bit dangerous. This is the kind of play that can speak to empty nesters as well as anyone who has ties to family that can prove to be harmful if not properly nurtured and checked.
*** out of ****
A View from the Bridge continues through to May 22nd in the Roth-Resler Theater at the Jewish Community Center of Greater Columbus located at 1125 College Avenue, and more information can be found at http://columbusjcc.org/cultural-arts/gallery-players/
Cats, one of the longest-running and most popular stage musicals worldwide, has always been a bit of a puzzlement to many a theatre fan, myself included. The show doesn’t follow the usual structure of a musical or stick to any of its conventions, yet it has proven to be incredibly popular and successful. Adapted from T.S. Eliot’s Old Possum’s Book of Practical Cats with music supplied by Andrew Lloyd Webber, Cats was one of the British mega musicals that took over Broadway during the 1980s. In all the show ran for eighteen years on Broadway and has toured the country since the mid ’80s, a favorite for families long before Disney’s The Lion King appeared on the horizon in 1997.
Cats is an assemblage of various character numbers with only the barest semblance of a plot; its main assets are a catchy score, character design, and dancing. It isn’t a real musical in the traditional sense, but it has surely drawn many people to the theatre over the last thirty-five years who may now owe their initial curiosity about live theatre to this show; in that way, Cats is a force musical theatre scholars can’t deny, one that has helped to foster generations of theatregoers who perhaps moved on to more serious and deeper pastures musically. The show’s flagship song “Memory” is now a standard, one that even the staunch theatre cognoscenti (those that count Cats along with other British juggernauts like Les Miserables, The Phantom of the Opera, and Miss Saigon as somehow inferior works) can’t discount entirely.
Cats has now arrived via Columbus Children’s Theatre and Columbus Moving Company at the historic Lincoln Theatre in a production that is elaborate with energy to spare. Here the cats frolic and scamp about, sometimes even through the aisles around the audience. This production replicates so many of the costumes and bits of stage business quite familiar to fans of the show while making some notable and welcome changes that aid in making it the kind of local event that commands attention. Even if you’ve seen Cats many times before, this production is still very much worth your time and attention.
Highlights of this production include seeing Mungojerrie and Rumpleteazer (Kyle Swearingen and Sara Tuohy respectively) perform their number with added acrobatic feats; William Macke shimmy his way around the stage as Skimbleshanks, The Railway Cat; Ryan Stem’s solemn and solid portrayal of Old Deuteronomy; Stewart R. Bender performing double duty as jolly Bustopher Jones and the heartbreakingly infirm Gus, The Theatre Cat; and last but far from least, Kendra Lucas as Grizabella, The Glamour Cat, eloquently delivering “Memory” as if the words are occurring to her for the first time, more than matching the best interpretations of that famous song.
Director Ryan Scarlata sticks close to the feel and staging of the 1998 film version produced for television and video release, which appears to have been a valuable reference. Still, some of the best moments are when Mr. Scarlata and choreographer Jeffrey Fouch (who also adeptly performs as Quaxo and Mr. Mistoffelees) veer away from what we expect from Cats, incorporating more gymnastics and acrobatics into the presentation. Michael Brewer’s decrepit circus set fits the material far better in my mind than the traditional junkyard, as the various musical sequences feel more like circus or vaudeville acts than alley performances. Brendan Michna’s layered lighting serves to enhance each scene and support the excellent craftsmanship of the many talented people working behind the scenes to make sure the makeup, costumes, and wigs are just right.
The only aspect of this production that is sometimes disappointing is that of the music, which is a pretty big deal for a musical. I’m sure it’s no fault of musical director Jonathan Collura as he never missteps in his accompaniment, but only so much can come across without the proper instrumentation. Many numbers sound more like elevator Muzak than what should be playing alongside the action on stage.
Columbus Children’s Theatre and Columbus Moving Company have done a remarkable job mounting Cats with production values that meet or exceed what we usually see from national tours when they pass through Columbus. It really says something when I find myself enjoying a production of a show of which I’m not particularly fond, but that is exactly what happened in this case. Don’t let the 150-minute running time listed on CCT’s website scare you off; it actually runs two hours including the intermission though no songs are missing or are abridged (aside from “Growltiger’s Last Stand” and perhaps longer dance sequences that pass without notice). Cats is still a show that makes many a theatre fan roll their eyes, but I found myself humming the tunes to “The Rum Tum Tugger” and “Skimbleshanks The Railway Cat” as well as the ubiquitous “Memory” for days afterwards.
***/ out of ****
Cats continues through to May 15th in the Lincoln Theatre located at 769 East Long Street, and more information can be found at http://www.columbuschildrenstheatre.org/cats.html