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Disclaimer:
The reviewers' opinions are their own and do not necessarily reflect the views of TheatreLouisville.org. |
Peer Reviews Working From the book by Studs Terkel Reviewed by Keith Waits Entire contents copyright © 2009, Keith Waits, all rights reserved.
This musical production, which had its Broadway opening in 1978, seems an especially thoughtful and timely choice for 2009, as hard times once again prove a challenge to the American work force. Drawn from the volume of oral history compiled by Studs Terkel, the text illuminates the lives and experiences of a range of American workers, mostly, but not all, of the blue-collar variety. The show is lacking a formal plot, being structured as a series of monologues and songs giving voice to the different walks-of-life, but the transitions are nicely managed, with characters handing off the spotlight like a baton. Director Cyndi Powell-Skellie's staging was mostly clever and resourceful, with props and settings used sparingly. During the first act number, "Traffic Jam", actors sang while moving about the stage in mobile office chairs, humorously mimicking the actions of frustrated rush-hour drivers, and later, in "Brother Trucker", three long-haul drivers give voice to white-line fever in truck cabs sketched in by cast members doubling as headlights and gear shifts. The effect skirted being overly cute, but didn't overstay its welcome. Even better were the mimed but repetitive motions of factory workers that, despite their appropriate monotony, contributed graceful choreography to the beautiful "Millwork". In fact, the show is filled with actors miming the physical tasks of their jobs, much of it rendered with well-observed detail. A large and diverse cast full of talent is called for, and director Cyndi Powell-Skellie displays a sure eye for casting in her choices. The emphasis seems to have been correctly placed on vocal talent, and all of the songs were well performed, although one or two larger numbers seem in need of a little more rehearsal. Fine work was also present in the majority of the monologues, although one or two times actors seemed to drift a little and lose the momentum of the piece. Among the large number of hard-working people onstage, I was particularly impressed by Chris Wise, who confidently essayed several characters, most notably Charlie Blossom, a recently terminated copy boy whose bitter attitude was beautifully portrayed. It must also be said, however, that Mr. Wise's humorous but overplayed bit in the musical number "It's an Art" upstages the strong and confident delivery of that song by Candace Kress, and needed to be turned down a notch. Other standouts in multiple roles included Cook Farmer, whose best moments were a plaintive rendition of the migrant worker lament, "Un Mejor Dia Vendra", and a solid monologue as a fireman in the second act; Erin Block does a beautiful job as a mill worker and among other things, a supporting bit as a cashier, and was compelling in her every moment onstage; Kim Hartz gave delightful life to the experience of a supermarket cashier in "I'm Just Movin'". I thought George Cottrell was in fine voice during his version of "Lovin' Al", but I felt the lively lyrics and up-tempo music demanded a little more strut and style than was on display in the staging. The multi-level stage was used to good effect, and the musical accompaniment by a four-piece band was well done. I found the use of images projected on a small screen on one side of the stage unnecessary and contributing very little except to belabor the obvious. Perhaps if the projection had been larger, so that it dominated the set design more fully, it would have seemed more satisfying, but, in truth, we don't need to see a picture of a truck when imaginative staging and good actors are already delivering the goods. A similar, slightly patronizing tone found its way into the program notes as well, which worked a little too hard to lead the audience in how to react to the play, as opposed to providing background and context for the piece. Given the themes of the script and the resonance with present-day realities of the working class in America, it felt like a missed opportunity to enrich the audience's experience. This was my first visit to Shelby County Community Theatre, but if the quality on display in this production is indicative of the rest of their work, surely their supportive and appreciative audience deserves that extra added thoughtfulness.
Working
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