Review - Myths and Hymns & Broadway Ballyhoo

When The Public Theater premiered Adam Guettel's Myths and Hymns in 1998 - under the title Saturn Returns - it was presented as a simple song cycle using chamber arrangements of pop, gospel and classical styles in a loose theme of exploring the human relationship to faith, utilizing traditional hymns and ancient myths. In the new production presented by Prospect Theater Company, director Elizabeth Lucas, through snippets of connecting dialogue and short, silent scenes, gives the evening a bit of a narrative. The result is too thin to add any dramatic heft, but not so intrusive as to distract from the poetry of the material and the tender and touching performances of her beautifully singing cast.

The ocean sound effects and Ann Bartek's versatile design place us in a seaside home, inhabited by a frightened widow (Linda Balgord) who has locked herself in the attic. Her daughter (Anika Larsen) pounds on the door, reminding her that her possessions are to be sold at auction in the morning. The mother is silent and spends the evening with memories of the past; how her romantic, but pious husband (Bob Stillman) rejected their son (Lucas Steele) for being in a gay relationship with a young man played by Donell James Foreman (his multiple role part is named the "Shapeshifter") and how their daughter's unwed pregnancy with her boyfriend (Matthew Farcher) ended with an abortion.

While the concept is played out admirably, the drama is too generic in nature to have much of an impact because the songs are never directly about the new situations; Guettel's lyrics about Hero and Leander, Prometheus, Pegasus, Icarus and Sisyphus are used in an attempt to draw parallels instead. Still, the evocative score is given an attractive treatment from Robert Meffe, who reduces Bruce Coughlin's original orchestrations to suit an ensemble of six, and by the well-textured performances of the company.

Photo of Bob Stillman, Linda Balgord and Ally Bonino by Richard Termine.

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While I generally don't discuss the price tag when reviewing shows, I think it's more than appropriate to mention that, thanks to producer/host Scott Siegel, it is possible to spend a late-night hour at one of Manhattan's most elegant cabaret rooms enjoying high-quality Broadway talent for a grand total of $20 plus tax and tip.

On Thursday nights at Feinstein's, the 11pm slot belongs to Broadway Ballyhoo, the show that gives you so much value for your money, Siegel nicknames it, "Don't Tell Michael."

There's nothing fancy about the setup. Each performance is a "one night only" event with music director Jesse Kissel at piano and a quartet of musical theatre favorites singing showtunes. This past Thursday night we were treated to the dashing and comical George Dvorsky ("Love Changes Everything" "Sara Lee" "Proud Lady"), the dynamic Farah Alvin ("My Funny Valentine" "Don't Rain On My Parade" "Back To Before"), the gently loveable D.C. Anderson ("Love, I Hear" "Marry Me A Little" "They Say That Falling In Love Is Wonderful") and the simply sensational Terri White ("Necessity" "When You're Good To Mama" "I Am Changing").

The mood is fun and casual, and Siegel hosts with his usual button-down humor. ("Since it's the week before Valentine's Day, I can't think of a better song to include than this next one, except for one you're going to hear later.")

Past Ballyhoo performers have included Alice Ripley, Barbara Walsh, Marilyn Maye, Kevin Earley and Nancy Anderson, with updates on future guests posted at Siegel Presents.

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