Seattleactor.com
Written by Jerry Kraft
Rather like the waters being sampled at the Cafe Francis in Jerry Herman's 1969 musical "Dear World," there seems to be something just a bit off, some odd, industrial taint to the taste of this otherwise refreshing, often whimsical entertainment. Under the solid direction of Marcus Wolland and with excellent musical direction by Deanna Schaffer, Showtunes revives this Broadway failure with an energetic and accomplished performance, but even with some lovely songs and amusing comic nonsense, the show still seems harsh and ill-tempered, more noxious than nimble, more mechanical than heartfelt.
An adaptation of Giradoux's satiric farce, "The Madwoman of Chaillot," the story centers on the extravagantly eccentric Countess Aurelia and her efforts to stop malevolent industrialists. They believe that they've discovered oil beneath the streets of Paris, and they're determined to exploit it as they've already exploited and polluted much of the surface world. Countess Aurelia and her equally mad companions, Gabrielle and Constance, set out to save the city from this pollution, and to restore the natural world to its pristine beauty. In the process, of course, they also clear a space for the romance between the idealistic young man Julian and his true love, the pure-hearted Nina. As for the central conflict, it speaks volumes about the inadequacy of this drama that the evildoers are conquered by sending them down a stairway into the basement of the basement of the Paris Sewer, and then a large stone doorway is rolled shut. What?
In any event, this production had the great good fortune of attracting Elizabeth Arnold to perform Countess Aurelia, the Madwoman of Chaillot. Ms. Arnold was terrific, with the abundant flair of a Jerry Herman "Mame" or "Dolly" and plenty of idiosyncratic charm all her own. Her intimate, world-weary reading of "I Don't Want to Know" was touching and very beautiful, as was the tender nostalgia of "And I Was Beautiful". Although no one could save the ghastly song, "Ugly Garbage," the Countess certainly got some great comedy out of the "Tea Party Trio," aided by a vibrant and delightful Gabrielle played by Vickielee Wohlbach and a thoroughly unhinged Constance, played with topsy-turvy abandon by Maggie Stenson. Of the men, Eric Polani Jensen was the real standout, making the President both substantial and comically inconsequential, and bringing his rich and appealing voice to the avaricious anthem, "Just a Little Bit More" and the toxic waste romance of "The Spring of Next Year." He also lent a charming and nefarious authority to his companion agents of corruption.
The attempt to find resolution through the notion of "every single person matters" was both anemic and disingenuous, and it leaves the show feeling contrived and false. In the original Broadway production, this show that was originally intended as a chamber musical was given an overblown and extravagant production. By returning to this book-in-hand concert venue, I think the show is much closer to being the witty, charming little comic heartache originally intended. The book's authors, Jerome Lawrence and Robert E. Lee are best known for their historical dramas like "Inherit the Wind" and "The Night Thoreau Spent in Jail." I think they tried to bring some sense of real world issues to this lightweight romance, and the mix simply doesn't work - oil and water, a smokestack wrapped in a feathered boa.
Once again, however, Showtunes is to be congratulated and thanked for bringing this nearly forgotten show back to our attention. Their fine assembly of performing talent, knowledgeable and sensitive musical performance and solid production values make this company a special treasure for Puget Sound audiences.
