I Love You, You're Perfect, Now Change

Book and Lyrics by Joe DiPietro

Music by Jimmy Roberts

Director, Chip Phillips; Musical Director, Joshua Finstein; Set Designer, Lisa Pegnato; Costume Designer, Kurt Hultgren; Lighting Designer, PJ Strachman; Sound Designer, Ed Thurber; Prop Designer, David Allen Prescott; Stage Manager, Steven Espach

CAST

Andrew Giordano, man 1; Linette Miles, woman 2; Angela Miranda, woman 1; Tom Souhrada, man 2

Musicians: Joshua Finstein, keyboard; Amy Raustron, violin

Performances through March 30 at Foothills Theatre Company

Box Office 508-754-3314 or www.foothillstheatre.com

I Love You, You're Perfect, Now Change is Off-Broadway's longest running musical, having played over 4500 performances, and it's easy to see why. It illustrates the human condition vis-à-vis relationships, is widely accessible, and with the four cast members at Foothills Theatre, totally charming. In addition, Director Chip Phillips has added a few choice Worcester references to bring it home to the local audience.

Joe DiPietro and Jimmy Roberts brought their creation to the Westside Theatre in New York on August 1, 1996, where it has been going strong ever since. Other productions have been mounted in more than 400 cities worldwide. Set Designer Lisa Pegnato hangs signage from Brew City, The Sole Proprietor, Morocco, and Lucky's Café to situate the action in the Foothills' neighborhood. A strategically placed bench, tree, and trash barrel, as well as the mini-gazebo where the musicians are seated, evoke the ambience of a park where many of the show's trysts occur.

I Love You (ILYYPNC) is based on the premise that we all find someone we think is perfect, then spend the rest of our lives trying to change him or her. In an entertaining series of songs and vignettes, we are taken on a musical journey from first date to blossoming romance, marriage, in-laws, children, and divorce – the latter often bringing us full circle back to dating. The four actors play more than forty roles to provide a comprehensive look at the relationship wars.

Andrew Giordano is well known to the Foothills Theatre audience and appears to be very comfortable on this stage. His voice is strong and rich and blends harmoniously with his cast mates. When joined by Tom Souhrada for "Why? 'Cause I'm a Guy," their delivery drips with testosterone, while Giordano releases his sweet, inner romantic for "Shouldn't I Be Less in Love With You?" as a husband lovingly serenading his wife of thirty years.

Souhrada plays more of the character parts, none better than a wild and crazy inmate in an orange jumpsuit at Walpole [sic] State Prison addressing a captive singles group. The event is called "Scared Straight to the Altar" and the lifer convinces members to be less picky and marry the nearest available person. At the opposite end of the spectrum, he acts as a spokesman for the law firm Jacoby & Meyers & Masters & Johnson advocating that partners sue each other for unsatisfactory sex. In scenes as a new father going gaga over his baby boy and as an elderly widower at a wake hitting on a familiar widow, Souhrada shows his dramatic range.

The two women cede nothing in the talent territory. Linette Miles and Angela Miranda both have lovely singing voices and good comedic skills. One of my favorite scenes ("He Called Me") features Miranda on the telephone with a recent date who told her he would call…and then he did! With tongues firmly planted in cheeks, the occasion is treated like a spiritual experience just shy of a miracle with Miranda warbling in an operatic tone, joined by a chorus of two pizza delivery guys and her "mother" while reflections from a disco ball whirl overhead. Later, she poignantly portrays a divorcée telling her story to the camera at a video dating service. Shy at the start, she delves deeply into the hurt and betrayal of being left by her life partner, only to come out strong and self-assured by the end. I am woman, hear me roar. 

Miles has her moment to shine in "Always a Bridesmaid" at the start of the second act. Costumed in one of those bridesmaid gowns that give women heartburn (peach with a lace overlay, bows in too many places, and a big floppy hat to match), she projects the world weary attitude of someone who has walked down the aisle far too many times and remains single. It's a hoot! A couple of scenes later, she joins Giordano as exhausted parents who are trying to find an ounce of energy and some stolen moments to have marital sex. I won't give it away, but Costume Designer Kurt Hultgren's contribution steals the limelight in this bit.

One of the more clever scenes involves the foursome as a family out for a ride in the car, with office chairs on wheels serving as the vehicle. They travel around the stage as a coordinated unit and it is arguably the best choreographed number in the show. There is a limited amount of dancing, but the actors all move well and rhythmically. Thanks to the capable keyboard of Musical Director Joshua Finstein and the violin accompaniment of Amy Raustron, the songs are the best part of ILYYPNC and keep the audience tapping their toes.

This is a return engagement for I Love You at Foothills some five years after it was first presented. It had a terrific response then and remains a clear favorite, especially with the hometown flavor added by Phillips. Video monitors flanking the stage feature brief interviews with local couples sharing personal stories of how they met or some other anecdote from their lives together. Interspersed with the live action fun and talent onstage, it offers something for everyone who is a couple, has been a couple, or might become a couple. I wouldn't change a thing.

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