She Loves Me is not the first incarnation of the story
of prospective lovers who quarrel in person but are amorous in
their anonymous letters, nor will it be the last (another film
rendering opens this winter). The St. Bart's Players have mounted
a handsome production which does justice to much of this irresistibly
sweet story (book by Joe Masteroff) and its delectable music (by
Jerry Bock and Sheldon Harnick).
While the production is well-staged and moves smoothly, the actors
seem to have been directed (by Christian Staint-Gerard) to overemphasize
much of their action. This could be extremely effective -- the
Headwaiter's (Jerry Williams) rendition of "Romantic
Atmosphere" was a standout, and it suited Kodaly's (Matt
Levine) overinflated ego -- but other characters suffered
from this approach. In addition, most of the musical numbers were
staged with the performers facing front, and specially lit, but
separating the music from the action in this way was something
of a distraction.
Overanimating the characters also had the effect of making them
seem two-dimensional. The hero Georg is undoubtedly an earnest
and straightforward character, and though Joe Nielson was
an appealing performer, he was needlessly busy, and furrowed his
brow more than warranted to get the point across. Merrill Vaughn
as the heroine, Amalia, had a vibrant soprano, but the role did
not seem to be a good fit - her actions were larger than the part
seemed to need, and she appeared more mature than her ingenuousness
indicated.
More successful were Victor Van Etten as Sipos and Michael
Connolly as Arpad, who were better able to navigate the overplaying
and naturalness that are demanded simultaneously in musical comedy.
Most successful at this was Nicole Sutterfield as Ilona.
Her sly side glances showed that the character was not as simple
as she seemed, but Sutterfield clearly conveyed Ilona's hopefulness
about finding love while she repeatedly discovers her ineptitude
at it. Her irritation at herself in "I Resolve" and
her joy at discovering an intelligent man ("A Trip to the
Library") were terrifically acted, and very well sung.
Each character in She Loves Me is given his or her own
song, and the results here were mixed. Van Etten gave a persuasive
argument for tact and diplomacy in "Perspective," and
Connolly opened the second act exuberantly with "Try Me."
Ulises Giberga gave Maraczek's bittersweet "Days Gone
By" a bit of a music-hall turn, and Levine, in Kodaly's "Grand
Knowing You," was high on panache but lower on charm.
The scenery (scenic design by Carlos Doria) was well designed
to switch back and forth between the interior and exterior of
the parfumerie where the cast spends its days. Crystal Thompson's
costumes were also very good, from Ilona's garishness to Amalia's
more conservative look, to outfitting the ensemble as shoppers
and cafe patrons. Special praise also to conductor/pianist Julie
Rowe and her orchestra of six. Their limited numbers did not
limit the music.
For above all is that music. As Amalia sings about the cafe where
she waits to meet her "dear friend," it is "charming
and seductive" indeed.
Box Score:
Writing: 2
Directing: 1
Acting: 1
Set: 2
Costumes: 2
Lighting/Sound: 1
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Copyright 1998 David Mackler