Twice Upon a Time
If you're in the mood for an old-fashioned musical comedy--one
that has a fast-paced energetic plot, melodies you can hum when you
leave the theater, good guys to root for and bad guys to boo, high
energy dance routines and show-biz voices that reach the rafters--
then "Twice Upon a Time" might be right down your alley.
There are even a few surprise twists here and there before the de
regueur happy ending.
On stage as a world premiere at the Civic Light Opera of South
Bay Cities through March 2, "Twice" is written by British playwright
Ray Cooney in collaboration with composer Chris Walker and lyricist
Mary Stewart-David.
Talk about polish and pizzazz! Audiences couldn't ask for a
better well-rehearsed cast. Directed by Cooney himself--with musical
direction by Dennis Castellano, a full live pit orchestra, snappy
choreography by Karen Nowicki, light design by Darrell Clark, and
Christopher Beyries' fast-change set--the action doesn't miss a beat.
You can guess from the title that "Twice" involves two
plot-lines; indeed, they are parallel tales that dove-tail in and out
of each other. One of them takes place today, the other occurred
eight decades ago and is brought to life when the protagonist
undergoes hypnosis.
In the opening numbers we meet Steven, a nervous, mild-mannered
attorney who works in a high-powered, London law firm. Keep your eye
on Brandon Michael Perkins who sings, dances, and has talent to burn.
We also meet Gregory Pilsworth, the tough old buzzard who owns
the corporation (the inimitable Robert Machray); his dipsomaniac wife
Daphne (the hilarious Monica Smith); and his pretty daughter Barbara
(Jennifer Malenke) who works for her father and is engaged to Steven.
The play's first confrontation comes when Pilsworth orders his
future son-in-law to stop smoking. So Steven seeks help from Dr.
Patel (Danny Bolero); and while undergoing hypnotic treatment, he
finds himself in another world (Chicago) at another time (1929) with
another name (Johnny May).
What's more, he's a member of a ruthless gang run by a notorious
mobster named Bugs Moran (Sam Zeller is terrific). And horror of
horrors, the mild-mannered, soft-spoken Steven (nee Johnny) falls in
love with Buggy's red-headed moll, Ruby (the amazing Misty Cotton).
From that first meeting with Dr. Patel, every time someone
innocently waves a watch, ruler, or string of pearls in front of
Steven's face, back he goes--from upper-class life in a swank London
law office to down-and-dirty low life during prohibition in Chicago.
So there you have it, but there's the rub. "Twice Upon a Time"
is a new work based on a tried-and-true bag of tricks and musical
theatre conceits that have been used many times before.
Although it's beautifully performed and received a rousing
reception on opening night, it is also reminiscent of issues and time
warps in other musical comedies. "Guys and Dolls," "Chicago," "42nd
Street" are immediately evoked--even elements of "Brigadoon" and
"Finnian's Rainbow."
Act I sets both scenes, establishes characters, gets exposition
out of the way, and is more cohesive and dynamic in both form and
presentation. And though Act II has some delightful moments, it
needs some adjustments.
Opening on the construction site of a large London development
where work has come to a halt because a ditzy old lady named Emily
refuses to sell her property, Act II then rambles around and repeats
itself in search of solid footing.
Singing "In the Rain" while sloshing through mud with an
innocent smile on her face, Emily (renowned British performer
Milicent Martin) offers cookies and lemonade to the workers in the
most tired, cliche-ridden routine in the show. It's sad to see
Martin's talents so under-used.
Legal counsel is called in immediately (that's Steven, of
course) and ordered to settle the dispute on the spot. But he sides
with Emily, bacause he's the good guy. Then who should show up to
defend the honest under-dog-working-class and fight off the arrogant
fat-cat-developers? None other than Emily's granddaughter, Linda
(Misty Cotton), who is the spitting image of Ruby, the love of
Johnny's life.
Eureka! The executive life in contemporary London (where Steven
is about to get married to Barbara) is now linked to the dangerous
underworld of Chicago (where Steven fell for Ruby), through Emily's
granddaughter Linda.
Throw in some high-stepping, tap-dancing mobsters (a la "Guys and
Dolls"), threaten a few murders (as in "Chicago"), have people fight
for the little guy (as in "Finnian's Rainbow") and, well...you get
the picture.
A few fancy twists at the last minute put the true love-birds
together, and voila! that's the road-map for "Twice upon a Time." It
would be fascinating to see how "Twice Upon a Time" changes after
fine-tuning prepares it for productions in New York and London.