Have you ever seen a play or musical and said to yourself or aloud "Boy, I wish these capable, talented artists were gathered together to put on a much better play or musical than this one“" This thought crosses my mind more and more lately, including repeated times during the Gallery Players' WONDERFUL TOWN, a lively production that soars in one key area (performances) and falls short in another (the book).
Wonderful Town takes place in Greenwich Village in 1935. The musical follows two sisters who’ve just moved from Ohio to the Big Apple to pursue their dreams. Sort of. One wants to be an actress but we barely see her journey climbing the ladder -- a wasted plotline with no real reason to exist. The other sister is a typist. There’s more at stake in the story for this sister, but what’s at stake isn’t compelling enough to sustain interest.
Although it’s not perfect, the bloated first act (90 minutes!) is actually stronger than the meandering second act, in which we discover that there’s no dramatic payoff for many of Act I’s developments. “Christopher Street” offers an energetic start with quirky choreography and top-notch vocals from Angela Dirksen as the tour guide. We’re then introduced to our heroines Ruth and Eileen, played by Molly Pope and Laurie Sutton. A solid sisterly rapport develops instantly between the two actresses, allowing “Ohio” to strike just the right chord of brooding wistfulness. Ruth and Eileen's homesickness is again nicely displayed in “Conquering New York,” featuring choreography that’s a perfect representation of what it’s like to be new in New York (the people crashing into you, the awful subway rides). “Conversation Piece” is a hilarious highlight, featuring the sisters plus three men all vying for Eileen’s attention. All of the actors shine as they sit, stand, sit, stand and awkwardly speak over one another.
Beyond this, there are eleven other musical numbers in the first act and although most are sung well, a general air of unimportance sinks them. “100 Easy Ways to Lose a Man” is cute and Molly Pope is a sensational performer but the bottom line is: this song (and “Ruth’s Stories” and “Conga”) doesn't advance the plot. And if a song doesn’t advance the plot, the actors are stuck searching for substance, meat and meaning in songs that don’t have any. A song like “Ruth’s Stories” is watchable because (I said it once, I’ll say it again, I’ll say it another time after that) Molly Pope is a sensational performer. But suppose she wasn’t? Without her charming, specific character choices, all we’re listening to is a not-so-good writer’s not-so-good stories. Who cares? If this is a musical in which one lead is an actress and one lead is a writer, can’t we see them excel at these things?
If Act I stumbles story-wise, Act II crumbles. There’s momentum missing right off the bat and it never comes back (I think it went away with the Conga in Act I). “My Darlin‘ Eileen“ is repetitive while “Swing” is awkward and confusing because there’s no drama to be found. What I'd rather see is a clearer, more structured story involving two sisters with big dreams -- a story with more real emotion, more genuine insight, and most importantly more moments. Instead, Act II is riddled with non-events, non-moments and lyrics like “My favorite dish / Ah, fish.” I repeat: “My. Favorite. Dish. Ah. Fish.” That lyric provides what insight to this character? To the story? To life at all?
But enough about the writing. You get it. The actors didn’t write this thing; it’s not their fault.
A tour-de-force mix of Bette Midler, Stockard Channing and Lucille Ball, Molly Pope delivers a nuanced, ingenious performance. What’s so exciting about watching her on stage is seeing all the colors she uses as an actress. Every line, every song, every moment is painted so differently than the prior line, song or moment. Each color, though, adds to the witty and vulnerable final product that is Pope’s presentation of Ruth. Her vocals are crisp and clear while her deadpan delivery enhances the material.
Nathan Brisby radiates a controlled but resounding power that’s perfect for Wreck. Brisby understands that you don’t have to over-do it to leave a mark. He’s subtle, he’s amusing, he chews a lot of gum. It’s the Anti Musical Theatre Performance and that’s why I love it. Brisby could have turned “Pass the Football” into a dreary bore. But no. He comes out on top: it’s an endearing number with great ensemble choreography, props, slow-motion, huddles, constant moving and cheering. It easily receives some of the biggest applause of the afternoon.
Monica Bradley is adorable and vivacious as the town drunk Violet, making the most of what could have been a throwaway role. Angela Dirksen is also memorable, mainly for those killer vocals and some brief yet pointed work as Ms. Wade.
But for my money, you’ve got to keep your eye on Brad Giovanine, who plays Speedy Valenti and a few other characters. His work in this musical is the definition of SUPPORT. He never takes attention away from the main action, never hams it up. My attention shifts to Giovanine often, not because of huge over-the-top choices but because he’s a powerful ensemble member, a wonderful dancer and a versatile supporting actor.
And then there’s Will Roland as Frank Lippencott. Roland delivers the single funniest moment of the whole production. When he dives into the tale of a customer ordering a banana split, it’s gold. Pure, magical, theatrical gold. Roland’s “go big or go home” acting style works here, as he laughs and rolls and coughs and wails and shakes all over the place.
When all is said and done, Wonderful Town, clocking in at three hours, features too many moments, songs and lines that have Irrelevant or Filler written all over the place… a shame for two reasons:
1) Gallery Players has gathered a very talented group of artists, especially the sensational Molly Pope. (I told you I’d say it again. Someone give her a one-woman show).
2) Even with its weak book, you could see this being a hit on Broadway. Imagine a huge 1930s set with beautiful furniture plus a lavish costume design to feast your eyes on. At Gallery Players, there’s not much to look at when the writing goes awry.
