through August 17, 2014
by Walt Haggerty
“Here we go again. It’s all about fresh starts, new
beginnings,” commented legendary superstar Chita Rivera. Based on Friedrich
Durenmatt’s play, "The Visit" has been turned into a musical by John
Kander and Fred Ebb, with a book by Terrance McNally.
“The Visit” tells a dark and foreboding tale of a woman
betrayed, abandoned and shamed by her lover. Late in life Claire returns to the
village of her youth. The once beautiful and thriving community is decayed and
the townspeople impoverished, including Anton, her former lover. Following a
series of profitable marriages, Claire has become a woman of enormous wealth.
Her mysterious visit is anticipated with curiosity as to why she has elected to
return. The hope is that she will rescue her former neighbors. On arrival she
makes an extraordinary offer, but demands an even more extraordinary price.
As Claire, Rivera delivers a dynamic performance destined to
cap a career of more than half a century. She is incomparable. Roger Rees, as
Claire’s former lover, portrays a character deserving of total contempt.
Enacting Claire and Anton as young lovers are Michelle Veintimilla and John
Bambery, respectively, who reflect the youth and beauty that once existed. As
schoolmaster, Jason Danieley makes his solo, “The Only One,” powerful and
moving. Distinctive characterizations are also contributed by Judy Kuhn,
Melanie Field, and Rick Holmes.
The score and lyrics (Kander & Ebb) make this musical
one of the team’s best, with each selection tailored precisely to the
situations and characters as reflected in Claire’s bitter “I Walk Away” and
“Anton’s egotistical, “I Must Have Been Something.” “Love and Love Alone,” sung
and danced by Claire and Young Claire, is beautiful and moving.
“The Visit,” directed by John Doyle and choreographed by
Graciela Daniele, is still a work in progress. The strong, sturdy framework is
in place for a memorable, even great, evening of theatre. Perhaps a
reconsideration of the most recent cuts and condensation of the current
production might be revisited, with an eye to adding definition to key
characterization. More extensive use of the marvelous music would also be most
welcome.
