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Storyline: In 1954 the world of socially prominent families in Baltimore is
shaken, not so much by the polio epidemic or the threat of the atom bomb, as
by the loose morals of youngsters who sport blue-jeans and leather jackets
and listen to that new rock and roll music! The leader of the wild bunch is
known by the nick name "Cry-Baby" because he only shed a tear once in his
life. (That was on the occasion of his parents execution on trumped up
charges of spying for the Russians.) He is an irresistible temptation for
the pretty blond who introducers herself saying "I'm a good girl. But I
don't wanna be."
The
last time Mark O’Donnell and Thomas Meehan crafted the book for a musical
based on a film by John Waters was six years ago. The musical was
Hairspray
and we called it "A triumph of knowledgeable professionalism, all the
elements of this show are calculated to accomplish their functions but they
all combine into something that doesn’t feel at all contrived." Here, again,
they paste together a workable book out of a cult-film. But here they don't
seem to have a worthwhile target for their humor, and satire needs a cause.
Hairspray,
of course, took on discrimination
based on race and girth. Here there aren't causes to root for. Instead, we
have a rather unfocused satire on class consciousness. The score here is by
Broadway newcomers David Javerbaum and Adam Schlesinger. Their contribution
is listed in the program as "songs by" rather than "score" or "music and
lyrics." It is a precise description, for the songs are placed within the
scenes with obvious, specific functions to serve and they do so with
efficiency, if not with either distinction or a particularly notable style.
Among the song titles which give a hint as to their flavor are "Baby Baby
Baby Baby Baby (Baby Baby)" "The Anti-Polio Picnic" "I'm Infected" and "I
Did Something Wrong ... Once."
Snyder's stint in the title
role is polished and a good deal of fun, a fanciful blend of the personas of
Elvis and James Dean with a sharp vocal quality that sells the lyrics even
when they are as lame as his boasting of his oral equipment "its moist and
its pink, it's a muscle I think. Its as smooth as the blanket I brung.
But it lives all alone with no friends of its own. Girl can I kiss you with
tongue?" The girl in this case is Stanley who managed to impress in the
recent revival of Company even when required to perform with tuba, oboe and
saxophone. Here, sans instruments, she proves to be bright and capable of
projecting just the right amount of rebellious sexiness. Supporting roles
are well constructed and played. Harriet Harris returns to the stage where
she earned her Tony Award as the faux-Chinese villain in Thoroughly Modern
Millie. Chester Gregory II does a Little Richard style stint that picks up
the already high energy level of the show and Christopher J. Hanke is a
charmingly spoiled member of the country club set. Potomac Region
theatergoers will be intrigued to see local boy Nick Blaemire making good in
the on-stage part of his amazing trifecta of the first half of 2008 - the
musical he co-wrote,
Glory Days, had its world premiere at Signature
Theatre this January and, just twelve days after he makes his Broadway debut
as part of the country club's vocal quartet in this show, Glory Days has its
own Broadway debut.
Rob Ashford's choreography
is consistently imaginative and frequently ingenious as, for example, when
he has the men performing a vigorous clog dance with license plates on their
feet. Throughout the evening, some of the most energetic and impressive work
on stage is by the three lead male dancers performing Ashford's steps, Marty
Lawson, Spencer Liff and Charlie Sutton. The sixteen-member pit orchestra gives out with a solid, rocking sound
under conductor Lynne Shankel, who, since she is playing keyboard at the
podium, often conducts with her shoulders. They are playing charts by
Christopher Jahnke that blend the emerging sound of rock and roll of the
early fifties and the strong synthesizer, percussion and guitar sound of
contemporary Broadway. Blended nicely in Peter Hylenski's sound design, the
band never overwhelms the vocals but provides a driving sense of rhythm.
Book by Mark O’Donnell and
Thomas Meehan based on the movie by John Waters. Songs by David Javerbaum
and Adam Schlesinger. Directed by Mark Brokaw. Choreographed by Rob Ashford.
Music direction by Lynne Shankel. Orchestrations by Christopher Jahnke.
Dance music arranged by David Chase. Design: Scott Pask (set) Catherine
Zuber (costumes) Randy Houston Mercer (makeup) Tom Watson (hair) Howell
Binkley (lights) Peter Hylenski (sound) Rick Sordelet (fight direction).
Principle cast: Nick Blaemire, Michael Buchanan, Colin Cunliffe, Chester Gregory II,
Christopher J. Hanke, Harriet Harris, Stacey Todd Holt, Carly Jibson, Lacey
Kohl, Marty Lawson, Spencer Liff, Alli Mauzey, Richard Poe, Tory Ross, Ryan Silverman,
Peter Matthew Smith, James Snyder, Elizabeth Stanley, Charlie Sutton. |
