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A Review By R. J. Donovan At the core of "Marty," the new musical version of the Academy Award-winning film, lies a gem of a show.
A single butcher living with his Mom in The Bronx, Marty is a gentle giant, a man who lives to help others, a sweet soul wrapped in a shy, unglamorous box. Marty is everything you would want in a friend. He's kind, respectful and unfailingly loyal. Despite "grinding his life away" at the butcher shop, Marty still feels he's a lucky guy. Unfortunately, he's also alone in a crowd. Having served his country, helped raise his siblings and paid off the mortgage on the family homestead, he's at a crossroads. He's got a dream to have his own business. His friends and family, meanwhile, and urge him to find a nice girl and settle down. But when he does, they descend upon him to criticize his choice. THE STORY The
show’s book is by Rupert Holmes, based on the Academy
Award winning screenplay by Paddy Chayefsky. Mark
Brokaw directs, fresh from his success with “A
Little Night Music” at the Kennedy Center’s Sondheim
Celebration. Marty meets Clara, the girl he's been looking for, purely by accident. He's been dragged to a local dance hall by his cousin Angie. Clara's been coerced there for a blind date with a guy who's soon trying to dump her. Marty catches wind of the cruelty that’s about to take place and, in a heartfelt scene, we observe him observing her and her deadbeat blind date. He says nothing, but the fire and emotion that surges out of him is palpable. He approaches in an attempt to console her and their awkward relationship begins.
THE MUSIC The weakest thing about the production is the score -- and that's a sad song indeed for a musical. One would hope for more considering the Tony Award-winning talents of those involved. The show’s music is by the inimitable Charles Strouse, known for such hit shows as "Bye, Bye Birdie," "Applause" and "Annie." Lyricist Lee Adams has a similar list of credits, having teamed with Strouse on many of his past projects. However, the music is barely memorable at best. The number that gives voice to "Marty's" famous catch phrase, "Whaddya Feel Like Doin’ Tonight," sounds (and is paced) like it's being made up as the cast goes along. At the other end of the spectrum is "Saturday Night Girl." Sung by Marty's four slick buddies, this is the only number that has any real zest to it. It’s reprised in the second act as a production number for the four guys with the girls of their dreams. Reilly is not a singer, which in itself is not really a bad thing as it adds to the believability of his character. However, he's been given material that does nothing to showcase what range he does have. He gives it his best and has a nice moment with a number called "My Star," but for the most part he's left out in the cold musically. Luckily, the performances hold your interest and carry the show along. Marty's mother is warmly portrayed by Barbara Andres. Her sister, Marty's Aunt Catherine, played by Marilyn Pasekoff, is the comic relief of the evening. Sullen, spindly and with a permanent dent of a frown, she's wonderful as she carries the weight of her own world on her shoulders. Her solo, “Niente Da Fare,” provides a refreshing touch. Robert Jones's set is mostly a collection of sliding pieces that suggest location rather than define it -- a butcher counter, a dining room table, a boat railing and so on. The largest set, for a neighborhood church fair, doesn't come along until the tag end of the evening. It would have been nice, and might have set the framework of Marty's world (surrounded yet isolated), had something similar been employed at the top of the evening. THE PROCESS At one time, Boston was known for its out-of-town try-out productions. Shows preparing for Broadway wanted to (no, had to) come to Boston to test material, work out the kinks and polish the show before opening in New York. From Rodgers & Hammerstein and to Neil Simon, playwrights, composers and lyricists tested the market and found what worked and what didn’t. At the same time, Boston audiences got to see shows before anyone else and played a part in shaping the final results. The great expense of touring, along with production demands that included everything from crashing chandeliers to gilded mansions that rose from the stage floor, changed the try-out system somewhat. Sure, we still do see a new show now and again. And whether it’s “Seussical” or “Fosse,” there’s still that spark of excitement at the prospect of witnessing a theatrical birth. And so it is with “Marty.” Is it perfect? No. Is it worth your time. Yes. Will the talents involved use the Boston run to refine what’s there and make improvements. Hope so. Because new work should be encouraged and seen. And because even a diamond starts out as a piece of stone that someone has to polish. “Marty” is at The Huntington Theatre, 264 Huntington Avenue in Boston. For information, call 617-266-0800 or log onto www.huntingtontheatre.org. Production photos by T. Charles Erickson -- OnStageBoston 11/02/02 |
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At
the moment, the best thing about the world premiere production at The
Huntington Theatre (running through November 24), is the touching
performance by John C. Reilly (left) in the title role.
As
Clara, Anne Torsiglieri (left with Reuilly) combines
just the right touch of strength and clumsy shyness. She sings sweetly
and, if anything, is perhaps too pretty for the role. A school teacher,
she's far ahead of Marty in the knowledge department. Yet like Marty,
she is hemmed in by family. She provides care for her father, who takes
advantage of the situation and holds on to her tightly despite suggesting
she take flight.
