The American
musical reinvents itself all the time but what always stays the same is the
artifice. Take THE UNSINKABLE MOLLY BROWN. The Meredith Wilson/Richard Morris
musical creates an entertaining portrait of the spunky upstart from Missouri who survived
the Titanic disaster, among other achievements --- but you wouldn’t call it
biography. You would call it a rousing good time, “big brass band, Meredith
Wilson-style.”
I don’t know of any revivals since the
Broadway run in the ‘60s so if Wellesley College Theatre hadn’t presented it
this past weekend, I wouldn’t have had the opportunity to see it on stage. Nora
Hussey’s theater students (and some ringers from the Wellesley professional theatre) made that yarn
believable, about pulling yourself up by your bootstraps. This was America just before the turn of the 20th
century when dreamers rushed to Colorado
to strike it rich in the silver mines. Molly’s husband hits a vein and the rest
is, well, artifice.
Co-director
David Costa catches lightning in a bottle, giving us a spirited taste of the
Wild West (from the settler perspective, of course) where prospectors, gamblers
and prostitutes live it up after a hard day at the mines, dancing and singing
and brawling their hearts out. (Kudos to Jenny Tang for the lively music and to
Colleen Royal for the boisterous dance.)
More than a few of
those men are portrayed by women (this being a women’s college) and they’re
portrayed exceptionally well. All the characters ring true, with standout
performances from Marge Dunn as the unstoppable Molly, from Will Bouvier as her
exceedingly patient husband and from John Davin as her wisecracking,
truth-telling, whiskey swilling father. In the supporting roles, Charlotte Peed
has a touching turnaround as a snobby socialite and Will Keary makes us feel
sorry for a Prince!
One musical
which isn’t dated in the least is Frank Loesser’s GUYS AND DOLLS. Jo Swerling
and Abe Burrows reveled in artifice, leading those Damon Runyon characters from
pillar to post in search of a place for a crap game. This was the ‘40s when men
were men and gamblers wore suits and ties! Of course, we know the creators are
playing fast and loose with reality but that’s what makes the musical pay off.
The North Shore
Music Theatre’s current version of the classic is now my favorite, with simply
delicious performances from Jonathan Hammond as an overburdened Nathan Detroit
(poor fellow, he’s stressed to the max) to Mylinda Hull as his beloved,
insistant fiancé (fourteen years makes one a bit hysterical). Where do I start?
Mark Martino’s exuberant production even enlivens the romantic plot (Sky
Masterson and Miss Sarah), which I confess I usually dismiss. Kevin Vortman and
Kelly McCormick are charming AND FUNNY, to boot!
Wayne W. Pretlow
rocks the “Sit Down” number and Michael Lichtefeld’s “Luck Be a Lady” ballet
literally levitates. Craig Barna’s little extras in the music department are
divine and Paula Peasley-Ninestein’s costumes are to die for. From the
ingenious “Fugue for Tinhorns” opening to the final “Guys and Dolls” closing
anthem, not one second is uninspired.
