The Baker's Wife Off-Broadway Reviews

This musical is as charming as this summary might suggest, along with a somber undercurrent. Some of the village’s men have antiquated views of women, including their wives. Technically, DeBose acquits herself well — she can certainly navigate the twists and turns of “Meadowlark.” But while she can sing it, I did not feel Geneviève’s hesitation, the way she progressively talks herself into betting on Dominique, the wide range of emotions she experiences in a fairly short amount of time. It didn’t help that DeBose, perched on a balcony, kept defaulting to her megawatt smile, as if looking for the safety of charm.

Admittedly, they all get short shrift in the text itself, though Greenberg, to his credit, tries to even things out by amping up the fantastical Provençal spirit of the village, with sprigs of lavender laid out on tables in Jason Sherwood’s set and members of the ensemble playing pétanque before the action begins. His supporting cast, too, puts in the effort toward filling out their lightly sketched characters — Nathan Lee Graham is particularly good as the lascivious mayor, and I’ll never complain about seeing Judy Kuhn. Greenberg is banking on atmosphere, which gets him some of the way toward a version of The Baker’s Wife that works. Getting there might require a page-one rewrite. I doubt it would be worth the effort. But hey, the show’s lumpy moral does, finally, come into view: Geneviève and Aimable’s relationship is worth fighting for. In marriage, as in yeast doughs, a little warmth helps things rise.

Averse to fully confronting its textual conflicts, The Baker’s Wife instead opts for a mellifluously sung, all-is-fine finale. With its lovely performances this show isn’t just crumbs, but it’s not the full loaf either.

Based on the Marcel Pagnol film, “The Baker’s Wife” was supposed to open on Broadway in 1976, or thereabouts, but shuttered on its way to New York City, the most likely culprit being the abominable showman-producer David Merrick. Productions have popped up here and there over the years, and fortunately for New Yorkers, a stellar production of “The Baker’s Wife” opened Tuesday at the Classic Stage Company. It’s by far the year’s best revival of a stage musical. If there’s any justice, this long-neglected musical by Joseph Stein and Stephen Schwartz will finally make it to Broadway with this great ensemble completely intact.

Now that Stephen Schwartz’s latest opus is out of the way—The Queen of Versailles opened Sunday night, to a decidedly mixed reaction—here comes a new production of his half-century-old flop, The Baker’s Wife. Consider the latter without the undertow of its notoriety (as delineated below). What we find at Classic Stage Company is a charming, small-scale affair perfectly suited to chamber-musical size, given a radiant sheen by a team of over-qualified performers who compensate for the patchy material. Considered without all its history, though—and without the ticket-selling potential given the involvement of the composer of Wicked (in league, incidentally, with the bookwriter of Fiddler on the Roof)—it is unlikely that anyone would bother to resuscitate the underbaked Baker’s Wife.

DeBose and Bakula’s welcome return to the theater isn’t the only big news down on 13th St, where the ensemble deserves the much-overused adjective “all-star.” I don’t think I’ve seen so many seasoned pros and award winners together on one stage this side of a Tony Awards audience or Equity benefit. A good thing too, for beyond the romantic triangle, this is the tale of a community ironically named “Concorde,” where petty provincials are ruled by spite until the new baker and his pretty wife arrive to create an uproar. Strong personalities are needed, top to bottom.

Nearly 50 years in, The Baker’s Wife is still unlikely to transfer to Broadway. (Though Schwartz’s royalty checks continue to arrive, thanks to Wicked, and the newly opened The Queen of Versailles.) It feels, at times, anachronistic against Jason Sherwood’s nostalgic scenic design. And yet, the croissant, insubstantial as it is, has a time-honored tradition behind every fold.

As delicious as warm, buttery brioche is the feeling of savoring a blue-ribbon musical. That’s the experience at Classic Stage Company’s beautifully performed, deeply emotional take on The Baker’s Wife featuring Ariana DeBose, Scott Bakula, and a pastry case of theatre aces. Call it “The Great CSC Baking Show.”