'Tintypes' Delights at Rep Stage

By: Oct. 30, 2006
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Tintypes, the charmingly delightful musical which opened yesterday at Rep Stage, is nostalgic in all the right ways.  It never parodies its subject matter (intentionally or unintentionally), it never gets mired down in trying to be super meaningful (though it does have some very resonant, meaningful moments), and it never forgets to entertain (which it does in abundance).  It also manages to walk that fine line between sentimental and maudlin, though it made me certainly long for an America different than the one we live in these days.

From top to bottom this production is solid and sure-footed.  It seems that nearly everyone involved has brought his or her "A game" to the show.  And even the couple of missteps are insignificant enough not to change the overall view of the production.  Carole Graham Lehan has created a tightly directed piece, both economical enough to be unobtrusive, but also fast-paced, flowing, and largely creative evening.  Her choreography is such that it is appears easy, but you just know it is complicated as it moves easily around the multi-leveled set.  Moreover, it is creative, non-repetitive and looks like a lot of fun to do.  No small fete when one considers that the script calls for several characters (some historical icons) played by a cast of five, no real book, and over 45 pieces of music from the late 19th and very early 20th centuries, almost all of which require unique staging.  A highlight of act two is the fun musical chairs number, "When It's All Goin' Out and Nothin' Comin' In."  The vast majority of the vignettes, which take us somewhat chronologically from the great immigration through the age of vaudeville, function beautifully as separate compact acts, and yet flow so seamlessly that each piece also works as part of a huge tapestry.  At only one time was there even a hint of shoehorning, and that is the "Wheels" section, including the figurative and literal wheels of industrial progress, a bicycle, and of course, a car.  While this segment was performed nicely and somewhat creatively, it did not match every other moment in the show.  Perhaps that has most to do with the structure of the piece, not so much the direction, but given the ease and skill of the rest of the show, one wishes that Ms. Lehan could have done a little more here. 

 

Those negatives aside, Tintypes is thoroughly engaging and fun.  Production-wise, Lehan is working with some top-notch technical artists.  I have simply run out of adjectives to describe the superlative design work of Daniel Ettinger (sets).  He has designed a lovely, Americana styled space that hints at times past, gives a nod to good old-fashioned patriotism, and terrifically traditional theatricality.  It works literally, figuratively, conceptually and symbolically.  And it is, like the rest of his work, first-rate.  Lighting designer Lynn Joslin, another reliable local theatre artist has made magic with the lighting design.  The effects are simple, the colors vivid, and best of all, like good lighting should, it adds to, but never detracts from the overall picture being created.  Costume designer Denise Umland, like the other designers, has created some beautiful garments, perfectly period, and most in lovely sepia-toned shades that old pictures had.  Best of all, the shades are delicate; the use of them suggests but never becomes a heavy-handed tribute to the titular photos.  The result of their combined efforts is a fully realized, artistic rendering of times past.  You would never know, given the expertise and flawless execution of the technical aspects of this production that it is the very first in this new black box space at Howard Community College.  Last, and certainly not least, Musical Director and Assistant Musical Director Brant Challacombe and Aaron Broderick also comprise the entire "orchestra" of two pianos.  They are masterful players and contribute invaluably to the entire piece.  (Next time, they should be labeled as such in the program!)

The key to such a musical review, though, is the cast, and aside from one member, Tintypes benefits from a wonderful troupe of actors.  The casting of Gary Heil as Teddy Roosevelt, who brings mannerisms and speech qualities to the role that one doubts seriously the actual man had - he of charging up San Juan Hill, or shouting his iconic, "BULLY!"- is problematic.  Heil's singing is good enough, but his bearing and characterization might be better suited to another project.  And while I know Roosevelt had an aristocratic New York/New England accent, Heil lapses into British "dandy" mode on several occasions, both in speech and affected movement, which became a distraction during Act One, but, fortunately was much less an issue in Act Two.  In fact, he scores nicely with the surprisingly poignant and timely (considering our current president) "I Want What I Want When I Want It."

 

The rest of the company, though, is a winner from the get-go.  Kate Briante, who earlier this year mined gold out of the least interesting character in Footloose: The Musical, brings a light, lovely soprano and a coy, impish demeanor to her chief role of actress Anna Held.  Her warmth and humor makes her recreation of this larger than life icon grounds the portrayal nicely, allowing us to see the "star" and the "woman."  Shannon Wollman, who plays, among other characters, Emma Goldman, is always a delight to watch, and has wonderfully kept her portrayal from going over the top.  She could easily have done some scenery chewing, but instinctively realizes that making Goldman and the other strong women she plays more down to earth actually magnifies their power rather than diminishing it.  Her voice, as always, is easy to listen to – both when she gets to let loose in solo numbers like "Jonah Man" and when she blends in the company numbers.  Evan Casey, playing Charlie, an immigrant, does nice work as well, using his boyish looks to charming effect.  He sings terrifically, dances quite well, and is quite skilled at physical comedy.  Casey is particularly winning in the difficult transition pieces where the company enacts homages to silent films of the time.  He is quite good at putting across a wide range of emotion without ever saying a word.  There were a few times where he came perilously close to mugging, and his accent is a little forced, but he never stayed there too long, and is enjoyable to watch.  Finally, Felicia Curry as Susannah, is an absolutely riveting, magnetic presence.  Every time she appeared, I couldn't wait to see what she would do next.  Her full bodied voice, equally powerful when she belts out some numbers, as when she softly sings others and her overall bearing make her a presence onstage.  And in true form of actors of her quality, she is equally at home blending in with the company.  She is both team player and star.

As I sat through the performance, I was amazed at how many songs were familiar – at least in tune, as several familiar songs were of verses I hadn't heard before.  Along with the nostalgia of the piece, where it is easy to say, I wish times were that simple still, I felt a longing for melodic music with simple lyrics that don't hit you over the head with their point.  They just don't write songs like these anymore.  And I longed for a time when America was confident and optimistic.  The patriotic numbers reminded me that it used to be a matter of pride to call yourself an American.  Maybe it still is, a little.  But like the tintypes of yesterday, those days are sadly fading away. 

 

(PHOTOS: By Stan Barouh.  TOP: The Tintypes Company; MIDDLE: Evan Casey, Kate Briante and Gary Heil; BOTTOM: The Tintypes Company)



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