Jeff Sable (Photo by Sei Gangula)
Reviewed by G. Bruce Smith
Ophelia’s Jump
Through Feb. 18.
When Eric Rockwell (music) and Joanne Bogart (lyrics) came up with the title The Musical of Musicals (The Musical!), they may have been getting at two possible meanings — either this is a show along the lines of King of Kings or simply this is a musical about musicals. If the former, then their tongues were firmly in their cheeks. But it doesn’t matter because the show is all just silly fun.
The play consists of five sets of songs evoking famous musicals by Rodgers & Hammerstein, Stephen Sondheim, Jerry Herman, Andrew Lloyd Webber and Kander & Ebb. The very thin plot line connecting them all is a recurring character named June (Chloe Jane Reyes), is an ingenue who can’t pay her rent and is threatened by her evil landlord. Of course, there really is no plot; the whole show is just an excuse for Rockwell and Bogart to write songs that try to be satirical – and they often succeed.
Each cast member has multiple roles in which each set is something of a mishmash of songs that evoke – and are generally in the same musical style as – the original classics. So, for example, in the Rodgers & Hammerstein collection, there are a few songs that include allusions to Carousel, Oklahoma and The Sound of Music. They include corny lyrics such as “I’m in love with a beautiful hoe” (yes, there are plenty of double entendres throughout the show), and some laugh-out-loud lyrics like “Follow your dream/Don’t ask me why/Follow your dream/Until you die.” The latter is sung by a Mother Abbess (Could that possibly be from The Sound of Music?), played by Molly Billman.
The Sondheim set includes a recitative (of course); the Webber numbers include such funny lines as “You have the voice of an angel/A whiny self-absorbed angel” (Yes, that’s thinly disguised Phantom of the Opera, complete with a ridiculous hand-held chandelier, made of fake pearls); and the Kander & Ebb set takes place, not surprisingly, in a Chicago speakeasy.
Musically, the songs do not sound anything like the originals, though the composer occasionally sneaks in a couple of bars that sound awfully like the prototype.
Musical of Musicals is going to be more enjoyable for diehard musical theatre fans than for people who aren’t. Some numbers lend themselves better to satire than others, particularly if you throw in (for example) the distinct choreography of Bob Fosse (think Kander & Ebb’s Cabaret). Indeed, the strongest set was the takeoff on Kander & Ebb, partly for that very reason. If you’re not a fan of musicals – or not familiar with the ones being satirized – the songs won’t stand by themselves very well.
Director Beatrice Castagran (who also is credited for the many colorful costumes) makes sure to deliver a show that is silly (if not always that funny) and ensures the audience has a good old time. The cast (Billman, Christopher Gomez, Reyes and Jeff Sable) goes along for the goofy ride, from the vocals to the choreography (Billman) to the over-the-top material. These are experienced singers, though the women have slightly stronger voices than the men.
In the finale, the cast sings “Now the show is over/Go screaming for the exits.” It’s a cute, self-aware display of modesty, but nobody involved in the production really believes the audience will flee from their seats.
Ophelia’s Jump, 2009 Porterfield Way, Upland; Thursdays, 7:30 pm.; Fridays, 8 pm; Saturdays, Feb. 10, 3:30 and 8 pm, Feb. 17, 8 pm; Sundays, Feb. 11, 4 pm, Feb. 15, 1 pm and 5 pm; thru Feb. 18. opheliasjump.org. Running time: Two hours, including intermission.
