Phone Rings, Door Chimes

Company – Mercury Theatre 

 

In Mercury Theater’s grand opening and premiere production of their brand, spanking new Venus Cabaret Theater, Artistic Director L.Walter Stearns presents a joyful, environmentally immersive version of George Furth and Stephen Sondheim’s Award-winning 1970 concept musical. The audience, treated by the welcoming cast like fellow partygoers, is seated up close and personal to the story. Drinks flow and appetizers are served, as the surprise birthday celebration begins. The whole evening promises to be a festive affair. 

But then the play bounces around New York City in time and place in a series of short vignettes that introduce us to Bobby, a single male Manhattanite. We see him interacting with each of his friends, married, or about to be wedded, along with three of his current single girlfriends. Despite first impressions, all is not happy and carefree among his friends, and Bobby’s experiences inspire him to question his life.

 Stearns, and his gifted musical director/accompanist Eugene Dizon, make this production sizzle through their visionary production. It’s a musical about a person’s choices, focusing particularly on matrimony in Manhattan. The show’s based upon a series of short plays about marriage that Furth wrote earlier in his career. Originally entitled “Threes,” the musical doesn’t progress chronologically. It looks at one particular young man on his birthday, examining the rewards and disadvantages he’s enjoyed through his inability to commit. In 1970, it was one of the first musicals to focus on truly adult themes; and in the early 1990’s, Furth and Sondheim updated the show, making it feel more contemporary. For their original efforts in 1970, this unique musical was nominated for a record 14 Tony Awards, winning six. 

Bobby’s a smart, sophisticated and likable New Yorker about to celebrate a milestone. The musical opens on the eve of his 35th birthday surprise party, but for this young man his special day will be spent contemplating what’s most important in his life and whether or not it might finally be time to settle down. Through a series of short scenes depicting past moments spent with his married friends, five wedded couples of varying ages and levels of contentment, as well as with three single ladies with whom he’s been dating, Bobby finds himself at the threshold of self-discovery.

Walter Stearns has put his own creative stamp on this iconic Sondheim piece, playing the entire production against the cabaret’s brick wall, upon which hang four LED screens. At first they appear to be windows, or perhaps framed art. But the stunning projections take on a life, as created by video designer Liviu Pasare, painting a gorgeous, moving backdrop of New York City. Stearns’ leadership, guidance and staging is always thoughtful, focused and inspired. He and Dizon tap into the strengths of their large ensemble, always focusing on the characters’ diversity, both individually and as a company. Stearns’ high energy direction, enhanced by Aubrey Adams’ tight choreography, pulses with an urban beat that helps establish the Big Apple as another important character in this production.

When the show opens, Bobby is envisioning one more evening spent with his friends at the surprise birthday party they’ll be throwing for him. As he considers each couple or girlfriend, memories are triggered. Married couple Harry and Sarah seem at odds with each other, as she struggles with her diet and he with drink. They humorously vent their frustrations employing hilarious martial arts therapy. Susan and Peter, the seemingly perfect married couple, surprisingly announce that they’re divorcing. More conservative couple Jenny and David enjoy tempting each other with exciting, new experiences, such as experimenting with marijuana and using four-letter words. Easily agitated Amy is paranoid about tying the knot with her longtime, congenial boyfriend, Paul, and Joanne, on her third marriage with wealthy, laid-back Larry, is continually on the lookout for the next big thrill, be it drugs, booze or a younger lover, such as Bobby. Sweethearts Marta, Kathy and ditzy airline stewardess April individually offer Bobby their own unique qualities, but neither woman provides the entire package he’s seeking. The show concludes with Bobby searching his soul and choosing to spend his 35th birthday by himself, contemplating what the next stage of his life will bring.

This talented cast works effortlessly, both together and individually. The ensemble includes a feisty Nicole Cready as a very funny Sarah, and a playful Frederick Harris as her manipulated hubby, Harry. Hannah Dawe nicely captures an uptight, but emotionally sublimated Jenny, with handsome Ryan Stajmiger as her easy-going husband, David. Jenna Coker-Jones is a wonderfully manic Amy. Her brilliant rendition of the hilarious patter song, “Getting Married Today,” sung with lovely Nicole Arnold, as southern belle Susan, and Greg Foster, as Paul, her sweet, considerate husband-to-be, is one of the show’s highlights. Derek Self is very good as Susan’s husband Peter, who finds Bobby more than just a friend. Steve Silver makes a patient, accommodating Larry to Heather Townsend’s stylish, booze-swilling and acerbic Joanne. Ms. Townsend’s stunning delivery of “The Ladies Who Lunch,” one of Sondheim’s best-known songs about disenchantment, is an absolutely riveting performance of painful distain.

 Kyrie Courter’s zealous, I-Love-New York Marta, is excellent, especially in her powerhouse patter song, “Another Hundred People.” Her dramatic choices create a powerful elegy to the impersonal, frenetic pace of city life. Kiersten Frumkin is a frank, emotionally vulnerable Kathy, who’s grown tired of waiting for Bobby to make a commitment. And beautiful Allison Sill is dreamy, sweetly naive and hilarious as April, a gullible flight attendant looking for love. Ms. Sill particularly shines in her number, “Barcelona,” during which April runs the gamut of emotions. The song is brilliantly written and a great example of how less can be more.

 As Bobby, handsome David Sajewich brings with him a resume of fine theatrical experience. He makes his Mercury/Venus Cabaret Theater debut in this iconic role into a star turn. While providing an empathetic sounding board for all his “good and crazy people, my married friends,” Mr. Sajewich also shows us a man searching his soul and discovering who he’s become over the years. He creates a character with knowing confidence and sings the blazes out of ballads like “Someone is Waiting,” “Marry Me a Little” and the moving finale, “Being Alive.”

Mercury’s Venus Theater demonstrates in this, their premiere production, staged in their gorgeous, new cabaret space, why they’re on the threshold of becoming one of Chicagoland’s finest, new companies. With each new production, the venue will undoubtedly display continued excellence. Walter Stearns’ production of this iconic show, musically directed by the gifted Eugene Dizon and choreographed by Aubrey Adams, smoothly brings the 70’s classic into the 21st century. Sondheim’s breathtaking score and biting lyrics, together with Furth’s no-holds-barred book, prove to be the perfect fit for this stellar, ever-evolving “Company.”

Reviewed by Colin Douglas    

Highly Recommended

 

Presented April 5-June 3 by Mercury Theatre in their new Venus Cabaret Stage, 3745 N. Southport, Chicago.

Tickets are available at the box office, by calling 773-325-1700 or by going to www.MercuryTheaterChicago.com.

 

Additional information about this and other area productions can be found by visiting www.theatreinchicago.com.