Allegro (4/15/18)

Richard Rodgers and Oscar Hammerstein II
An In-Concert Reading (their hyphenation, not mine*)
Presented by The Musical Theater Project and
Kent State University Theatre Program

*Note: This is a guest post by BrotherMeister, ConcertMeister's real-life brother.

The show was introduced by Bill Rudman of The Musical Theater Project,
Terri Kent of KSU Theatre and Nancy Maier of KSU Theatre, who also accompanied on piano. Terri Kent directed the show.

Much interesting information was imparted before the concert/reading.

While the show is seldom revived—it was experimental in 1947, with snippets of songs and an on-stage chorus which not only sings, but speaks while occasionally breaking the fourth wall—there was a (Lincoln Center?) production in 2016. However, in 1960 Hammerstein was working on a teleplay version and this performance was the first ever production of that version—sanctioned by the Rodgers & Hammerstein Organization. Stephen Sondheim, who was Hammerstein’s protégé at the time, is on record saying his entire career is based on the experimentation of this show.

This concert was staged rather nicely, with most players doing double duty in both chorus and as featured roles. To accomplish this, all performers—approx. 30 total (the program lists some Ensemble players in the Named Character section as well, and I didn’t think to count actual bodies)—would stand and rotate in and out of the five ‘featured’ chairs in front. At those chairs (and others on stage) were adjustable music stands which actors would raise as they stood to perform, and lower as they sat. This created a decent visual excitement, while simultaneously cueing the audience where to look.

While there were no costumes per se, all the women wore dresses—many of which felt indicative of the period—and certain men wore items (think ties for dads, vests for students, etc.) which helped them feel costumed. One particularly effective piece of business occurred twice when female characters died (not a common occurrence in musical theatre of the time): two chorus members unfolded sheer scarves and draped them over their heads. Those characters—who continue to interact with the story (remember: experimental) wore those scarves around their shoulders to signify their spiritual-ness.

The story concerns Joseph Taylor, Jr. and chronicles his life from birth through toddlerhood, childhood, university, and to the brink of his second-stage career path. At its core, it’s about the perils of losing one’s way. Some (many?) of the pitfalls are terribly dated and border on misogynistic (girlfriend Jennie all but murders Joe’s mother in attempts to ‘steal him away from her’) and keep the story from feeling relevant, though the mantra of holding onto your core beliefs certainly rings as true now as then.

The only ‘hit’ song from this show is “The Gentleman Is A Dope”—made famous by Lisa Kirk, and in turn, the song made her famous in the process. One other song, “So Far,” had a life beyond the show, recorded by Perry Como, Frank Sinatra, and Margaret Whiting, but more a footnote than a hit. Several of the ‘snippets’ carry the unmistakable R&H sound.

The talent pool was terrific and while it might’ve been nice to have more accompaniment than a lonely upright piano, the show didn’t suffer because of it.

Overall a very rewarding and enjoyable event.

BrotherMeister