The Bushnell, Hartford, CT
through October 30, 2016
by Shera Cohen
“The musical’s first song, ‘A Warning to the Audience’ [to
go home] is, of course, not heeded. No one should leave the theatre until our young,
handsome, serial killer/hero and his eight victims receive standing ovations.”
 |
| Photo by Joan Marcus |
I quote the last line of my own review of “A Gentleman’s
Guide to Love & Murder,” having seen it in 2012 as a world premiere at
Hartford Stage. Within what seemed like a New York second, “Gentleman” landed
on Broadway, won a ton of Tony Awards, to then come full circle to Hartford –
this time to the larger Bushnell stage. The saying goes, “You can go home
again,” and in the life of “Gentleman,” welcomed by a full house, rousing
cheers, bold laughter, and yes, a standing ovation. Frankly, I easily could
have spent another two hours watching the erstwhile protagonist knock off
another eight preys, but I doubt if the cast members had the stamina to keep up
the physical and verbal speed.
The plot: Rent the 1949 Alec Guinness splendid macabre
comedy, “Kind Hearts and Coronets,” add romantic and devilish music, 20 or so
elaborate cartoonish scenes, and four leading actors/singers. Without movie
CliffNotes, think: poor, orphaned (okay, so he’s 25ish) low class Monty
discovers that he has a slew of upper class relatives, each of whom he must
murder in order to climb the ladder to success. While nice-guy Monty is at
first reluctant to pursue his mission, he quickly gets over it. What singles
out this farce from other musicals and plays is that the role of all eight
family members (men, women, young, old) is portrayed by the same actor.
Kevin Massey (Monty) acts as well as he can sing. It is
obvious why he has earned his Broadway credits. His bittersweet “Sibella” is
offset by a spritely “Poison in My Pocket.” John Rapson (Monty’s kin; i.e.
cousins, uncles, aunts) purposely milks the bizarre humor of each family member
to perfection. Just when one would think that Massey is ONLY a funny man, he
sings a brassy “Lady Lyacinth Abroad” or dramatic “Looking Down the Barrel of a
Gun.” Best of all is the duet, “Better With a Man,” which without going into
details, is exactly what you would guess.
If a competition was held as to which of the two actresses
has the best soprano pipes it would be a tie. Both Kristen Beth Williams and
Kristen Hahn could easily be mistaken for opera divas. Indeed, Williams plays
her role as diva-like as is possible. Hahn’s character, on the other hand, is
proper and demure. Monty loves them both. So does the audience. Perhaps the
show-stopper is the trio’s (Monty and ladies) “I’ve Decided to Marry You,” with
each woman on the opposite side of a wall, Monty between them, with doors
slamming, running about, and gymnastics to give Moliere a smile.
Director Darko Tresnjak and Scenic Designer Alexander Dodge
work in sync flawlessly. This half-paragraph does not property credit their
skills. Music Director Lawrence Goldberg and his talented orchestra carry
refrains of hysterically yet ghoulish sounds throughout.
A flaw with “Gentleman”? There has to be something? Ah, the
musical runs less than a week at The Bushnell.
