Timoth David Copney

Act II is electric. The energy spikes, the stakes sharpen, and the technical wizardry goes into overdrive. Even if some of the new songs didn’t immediately lodge in my brain, the cast’s sheer commitment carries the evening.

Senzel Ahmady and Jake David Smith, as Daisy and Jay Gatsby, both have outstanding voices and a beautiful elegance. Lila Coogan as Myrtle and Talley Sessions as George bring just the right amount of grit to their roles. Leanne Robinson pairs hard edges with the voice of an angel as Jordan. Will Branner is appropriately smarmy as Tom Buchanan, and Edward Staudenmayer nails the shady bootlegger Meyer Wolfsheim.

In a script that focuses on self-discovery, right and wrong in pursuit of survival, and gender identity, all wrapped in a script that is by turns funny, poignant, and sometimes downright silly, the writers encapsulate the best points of the gender-bending movie. And while staying essentially true to the original, those elements that speak directly to the pursuit of the characters’ revelations about who they truly are is what sets this musical version apart from the movie.

I know these are some of the darkest and most dangerous days in our lifetimes. With despair and desperation haunting so many people on the planet, thank the powers that be for letting us forget all that for a couple of hours and wallow in the shallows of some good old fashioned corn porn. To quote another favorite show of mine, ‘ain’t nothing dirty goin’ on.’ And there didn’t need to be. When it’s this funny, with this much amazing talent on stage, just relax and enjoy the corny ride.

The Life of Pi production at the Hippodrome is a triumph. While the story stretches credulity, the craftsmanship is outstanding. Max Webster’s direction, clearly informed by his background in Shakespeare and opera, gives the play an impressive scope. The tight pacing and inventive use of set pieces—from the complexity of a sinking ship to the simplicity of rippling paper evoking the sea—are focused and effective. Audiences often underestimate the director’s vision, but Webster expertly draws out the intended emotional responses in every scene.

& Juliet brings a fresh and welcomed take on the age-old tale of the star-crossed lovers, peppered with familiar phrases still in use today that the Shakespeare character points out as amusing asides to the audience. By changing the focus from the tragic situation in the original play to a new, upbeat conclusion with the addition of a couple of major tweaks to the story, it becomes a tale of female empowerment led by both of the female protagonists. This version will appeal to a wider, younger audience and as a grateful member of Baltimore’s theatre community, I for one am delighted to see new life breathed into old stories. And just wait until you see how the title is arrived at on stage. I loved the ending, the beginning, and just about everything in between. I bet you will, too.

This production is not quite as lavish as I was expecting, but the big, bold, beautiful cast more than makes up for any lack of scenery. Harvey Fierstein is credited with revising the book, and the music by Jules Styne and Bob Merrill holds up just fine. The songs are so familiar that the audience knows most of them, but there are a few surprises for those of us who have only seen the movie, which differs from the stage version in some significant ways, including expanded roles for some supporting characters.