Allegro
Tickets from $70 Buy Tickets
Cititour.com Review
Unless you are a student of theatrical history – or were alive in 1947 – you may not literally know what you’re missing while watching John Doyle’s scaled-down version of Richard Rodgers & Oscar Hammerstein’s so-called “flop” musical “Allegro”, now getting a rare revival at the Classic Stage Company. The show’s original production used a cast of dozens, incorporated two long ballets (by choreographer-director Agnes DeMille), and included a “Greek chorus,” while Doyle has chosen a troupe of 12 actors who play their own instruments and eliminated all the dancing, among other “less is more” innovations, to tell this tale of being true to oneself no matter the cost. In the end, this new approach doesn’t make much difference. While these 90-minutes go by pleasantly enough, with a few dramatic and musical high points, Doyle and his multi-talented cast simply can’t make the case for the show being a lost masterpiece.
|
The story of Joseph Taylor, Jr. (Claybourne Elder) from the day of his birth to the moment in his 35th year when he suddenly – and angrily -- turns his back on being a super-successful big city doctor to return to his hometown remains a slight one (and not really as radical as Hammerstein believed). Moreover, we really don’t get enough moments with the show’s most sympathetic characters, Joseph’s no-nonsense grandmother (the divine Alma Curevo) or his forthright mother (the lovely Jessica Tyler Wright). (Note: in the original “Allegro,” both characters reportedly returned repeatedly as ghosts after their deaths.) We also lose some details about Joe’s best pal, Charlie Townsend (the very fine George Abud), who is a catalyst for Joe’s decision to move to Chicago.
Without question, the score simply lacks the consistent greatness of the pair’s best musicals, including “Oklahoma,” “Carousel,” and “South Pacific.” Musically, it simply seems odd that the show’s two strongest songs, “So Far” and “The Gentleman Is a Dope,” are handed to minor characters, respectively Beulah (the lovely Megan Loomis), a girl with whom the college-aged Joe has one date, and Emily (the excellent Jane Pfitsch), the grown-up Joe’s wise secretary. Meanwhile, the show’s title tune, which signifies the hustle-and-bustle of living in the big city, is merely odd, and most of the other tunes are close to forgettable.
Many will complain that the British-born Doyle is once again using his well-worn “gimmick” in having his actors double as the show’s orchestra. However, I think that technique works well here, especially given the intimacy of CSC’s stage. Plus, all of these performers are highly gifted instrumentalists, most notably, Tony nominee Elizabeth A. Davis, who excels as Joseph’s super-ambitious girlfriend Jenny, Broadway favorite Malcolm Gets as Joseph’s hard-working physician-father, and Randy Redd as Joseph’s Chicago colleague Bigby Denby.
The production’s other main asset is the handsome and charismatic Elder, who effectively delineates Joe’s growth (physically and spiritually) so that his early naivete, later despair, and ultimate “rebirth” feel completely true. He hits all the right notes, musically and otherwise.
You may want to check out this “Allegro” if you have the time, but it’s hardly a high point of the current musical season.
By Brian Scott Lipton
Visit the Site
http://www.classicstage.org
Cast
George Abud, Alma Cuervo, Elizabeth A. Davis, Claybourne Elder, David Finch, Malcolm Gets, Maggie Lakis, Megan Loomis, Paul Lincoln, Kara Mikula, Jane Pfitsch, Randy Redd, Ed Romanoff, Jessica Tyler Wright
Open/Close Dates
Opening 11/1/2014
Closing 12/14/2014
Box Office
866-811-4111
Theatre Info
CSC
136 East 13th Street
New York, NY 10003
Map
Comments
Sign up for our newsletter !