Will Riddle and Erika Schindele (Photo by Jordan Gohara)
Reviewed by Asa Fris
International City Theater at Beverly O’Neill Theater
Through March 8th.
RECOMMENDED
Photo by Jordan Gohara
I Love You, You’re Perfect, Now Change, with music, lyrics and book by Joe DiPietro, presents a smattering of stories all about romantic entanglements (specifically between men and women) None of the stories is related to another, meaning characters or locales might not return in later scenes. Instead, the plot uses the various stages of dating for its throughline. From first dates to break ups, marriage and having kids, all the way to divorce and life after your loved one departs; No stone’s unturned. It’s goofy, it’s lighthearted, it’s fun.
Jimmy Roberts’ score underscores the joys, the missteps, and the sorrows of the characters with complex but never indulgent compositions. The orchestra consists only of pianist and musical director, Daniel Gary Busby, and violinist Joe Buzzelli. Despite only using these two instruments, their performances fill the theater.
With so many characters and locations, clarity or repetitiveness might be a real issue. But as a whole, designers, cast, and crew execute the show immaculately. Director Barry Pearl stages the scenes with the carefully considered architecture of sketch comedy, and he collaborates with the designers to achieve ample clarity.
The set, designed by Stephen Gifford, resembles the floor of a ballroom, all white with simple checker-like patterns, and tall white panels evocative of church windows. At the back of the stage are steps up to a raised orchestra pit, which houses the musicians. Otherwise, the stage is empty, and the use of space is efficient. Actors and crew roll on and off necessary set pieces, and the steps even double as a pull-out bed.
The costume design by Kimberly DeShazo is simple and effective. One character is never mistaken for another, and the costumes unequivocally support both the feel of scenes, and the movement needs of every actor. A special nod to the backstage crew of Kayla DePrete, Amber Pegler, Dave Espen, and Filisha Jones, who execute costume change after scene change after costume change without any noticeable hiccups.
The lighting design by Maren Taylor is effective, although a little lackluster. Often lights are slow to come up on actors faces, and most musical numbers end with a fade out, despite the music and story calling for a hard out. Still, she bookends the musical with crisp stylized blues and reds, and fun colorful dancing lights on the back panels for heightened playful movements.
Such a great technical and stylistic foundation sets up the actors to knock it out of the park, and they do. They are a blast to watch. Will Riddle, Michael Austin Deni, Erika Schindele, and Whitney Kathleen Vigil all bring a tremendous amount of vocal skill, stellar comedic timing, and a real willingness to play. Whether it’s two tennis players (Riddle and Schindele) navigating an early relationship, or two widowed seniors (Deni and Vigil) exploring nuanced boundaries and desires, it’s all filled with real vulnerability and spontaneity. From solos, to group rolling chair choreography, the cast executes.
There are a few minor blips. One concerns a scene between two business moguls (Deni and Vigil again), who decide to “skip” the first date, and then the second date, and so on, so they can get on with life. It feels more like two strangers being whimsical and fun, winking at the comedy instead of two moguls of business hashing out a hard deal, and then surprisingly evoking real emotion. But since the idea of the scene is funny enough as is, and the actors adept at performing Pearl’s direction, it still works just fine.
Another area of note is Becca Sweitzer’s choreography. It’s again simple and effective, while still giving the actors a real chance to express themselves through movement. A moment of “chair choreography” is a delightful way to add some excitement to a scene that places all the characters in a car. And throughout, when dance is called for, it’s entertaining, and full of well-chosen moments of body and prop isolations, and popular dance cliches.
Front to back, this production is excellent. There’s a reason it’s the longest running revue in Broadway history, and this staging only serves to uplift what’s been proven to shine.
International City Theatre, Long Beach Convention & Entertainment Center’s Beverly O’Neill Theater 330 East Seaside Way, Long Beach. Through March 8th. https://ictlongbeach.org Running time two hours and 15 minutes with intermission.
