Spotlighters' musical not up to task vocally

Theater

January 15, 2004|By J. Wynn Rousuck | J. Wynn Rousuck,SUN THEATER CRITIC

Arthur Schnitzler's play La Ronde would appear to be an ideal source for a musical. For starters, it's about love. Well, OK, sex - but still a subject frequently celebrated in song.

It also has a format that translates readily into musical terms. Schnitzler built his once-scandalous 1900 drama out of 10 scenes, each featuring a different couple. One partner in each moves on to the next scene, creating a perfect vehicle for a song cycle, or, in the hands of Michael John LaChiusa, a chamber musical flavored with repeated musical motifs and lyrics.

LaChiusa's 1994 musical, titled Hello Again and receiving an ambitious but uneven production at the Audrey Herman Spotlighters Theatre, is a loose adaptation of La Ronde. The composer/librettist's biggest departure is setting each scene in a different decade and eschewing chronological order.

The musical opens with a soldier (Lee Ordeman) in the early 1900s; in the next scene, he's in World War II. A subsequent scene features a young college student (Michael Rostek) in the 1960s; one scene later, he's in college in the 1930s. Schnitzler demonstrated the ways in which sexual passion defies social and moral boundaries. LaChiusa goes one step further and demonstrates that this basic urge is unaltered by time.

Hello Again is director Bob Russell's second dalliance with Schnitzler at the Spotlighters. He staged another version of La Ronde, David Hare's The Blue Room, at this theater four years ago. In that production, nudity presented one of the chief challenges; in Hello Again, the biggest challenge is musical.

The show is almost entirely sung, and the music tends to be more dissonant than tuneful - a choice that suits most of the script's uneasy liaisons. It's a score that would be demanding for an accomplished cast, and several of the Spotlighters' performers aren't up to the task.

Two notable exceptions are Jason Hentrich and Bart Wirth, who deliver a fine rendition of the score's only major duet. This duet's sudden appearance isn't arbitrary; these two portray the only characters whose feelings come close to being evenly matched.

Laura Butler's choreography emphasizes the lyrical as well as the jarring elements of the various couplings; the production could use even more of this stylized movement. It would also benefit from live keyboard accompaniment instead of the heavily synthesized recorded score, which has the added disadvantage of making all the music sound alike, no matter what decade is being depicted.

The Spotlighters is billing Hello Again for adults only, but though the action is provocative, it is presented tastefully (and humorously in at least one scene, set in a movie theater). Still, this small-scale musical feels dissatisfyingly disjointed - a shortcoming accentuated by a vocally spotty cast.

Show times at the Spotlighters, 817 St. Paul St., are 8 p.m. Fridays and Saturdays, and 2 p.m. Sundays, through Feb. 7. Tickets are $15. Call 410-752-1225.

Having a `Picnic'

Center Stage has replaced its final offering of the season, Danny Hoch's Till the Break of Dawn, with William Inge's 1953 Pulitzer Prize-winning drama Picnic.

Hoch's account of young American activists in Cuba "just isn't ready" for a full production, says artistic director Irene Lewis. The first full-cast play by Hoch, who is best known as a solo performance artist, Break of Dawn received two staged readings in Center Stage's First Look series as well as a two-week workshop in New York over the past two seasons. However, Lewis said that the script is "still four hours long."

In replacing it with Inge's play about a handsome drifter's impact on the women in a small Kansas town, the artistic director chose a script she's been hoping to produce for at least five years.

"Being set in the early Fifties, it's visually a deliciously retro play, and the idea of marrying for love that's sexual and passionate and dangerous is something that's enduringly intriguing to me," said Lewis, who will direct the production.

Picnic will run May 14-June 20 in Center Stage's Head Theater. For more information, call 410-332-0033.

Lion's next prey

How do you follow up the heady success of the hit Broadway musical Hairspray? Baltimore-born lead producer Margo Lion hopes the answer lies in musicalizing another movie - the 1998 Adam Sandler-Drew Barrymore romantic comedy The Wedding Singer, about the relationship between a musician and a waitress.

Like Hairspray, The Wedding Singer was released by New Line Cinema, which will again team up with Lion in producing the musical. Also like Hairspray, Lion said from New York earlier this week, The Wedding Singer "has a specific time [in this case, the 1980s], which enables the music to have a very particular sound, and it is in a specific place [New Jersey], which I think we can have fun with, and the characters have a lot of opportunity to have specificity and imagination applied to them. I hope to do for New Jersey what I did for Baltimore."

Baltimore Sun Articles
|
|
|
Please note the green-lined linked article text has been applied commercially without any involvement from our newsroom editors, reporters or any other editorial staff.