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“Damn Yankees” was born in the ‘50s, the golden age of musical theater; when winning a Tony actually meant something. The golden age was the reason dear sister Liz and I each night would be lullabied by Broadway with tunes drifting upstairs from Dad’s phonograph.
“Guys and Dolls,” “My Fair Lady,” “West Side Story,” “The Music Man,” “Gypsy,” “Sound of Music.” Need I say more?
The themes of these golden years were consistent:
1) Romance: stability and worth derives from a love relationship sanctioned and restricted by Protestant ideals of marriage.
2) Hometown: a married couple should make a moral home.
3) The woman as homemaker.
The message of “Damn Yankees” is inspirational, making an even deeper impact on the audience at Arden’s New Candlelight Theatre due to all the congressional and global vitriol we wake up to each morning. In Congress it seems everyone’s soul has a price. Not in “Damn Yankees!”
This was so much fun. Sis Liz was singing along with every number. There were two pre-adolescents at our table (new friends) who had never been to live theater ever. They “got it”…and they were entranced.
Director Chris Alberts was very inventive at the curtain, interspersing sound bites of the most popular tunes in the most energetic and spirited opener in NCT’s history.
The credits of the newcomers are impressive: Joe Boyd (Robert Bader) has a stirring tenor and sings a tear-jerking rendition of “Goodbye Old Girl.” He worked with Robert Goulet. The “young” Joe (Chris Stevens), leaves NCT to join a national tour of “Cats.”
A third debut came with Meg Boyd (Janet Wilkie). Her voice was plaintive and her emotions were repressed (such was the case with any good ‘50s homemaker).
Gloria's (Anastasia Bokas) opportunity to shine as the investigative reporter gave her “Shoeless Joe” and she hit a homer. She batted 1.000 this evening.
A smile crossed my face each time Sister (Victoria Healy) and Doris (Colleen McGinnis) appeared. They were irresistible and irrepressible. The ‘50s-era costumes, conceived by costumer Linda Reilly, could not have been more authentic. Aisle Say knows. He was there and once wore those synthetic blends proudly!
The Senators baseball team (Russell Mathews, David Snyder, Dan Sanchez, Rod Rodriguez, Peter Bricotto, David McConney and Steve Stonis), while perhaps not the most athletic bunch of jocks physically, exuded much more “heart” than the Philadelphia Eagles in their recent play. Their harmony was superlative.
“Damn Yankees” was born in the ‘50s, the golden age of musical theater; when winning a Tony actually meant something. The golden age was the reason dear sister Liz and I each night would be lullabied by Broadway with tunes drifting upstairs from Dad’s phonograph.
“Guys and Dolls,” “My Fair Lady,” “West Side Story,” “The Music Man,” “Gypsy,” “Sound of Music.” Need I say more?
The themes of these golden years were consistent:
1) Romance: stability and worth derives from a love relationship sanctioned and restricted by Protestant ideals of marriage.
2) Hometown: a married couple should make a moral home.
3) The woman as homemaker.
The message of “Damn Yankees” is inspirational, making an even deeper impact on the audience at Arden’s New Candlelight Theatre due to all the congressional and global vitriol we wake up to each morning. In Congress it seems everyone’s soul has a price. Not in “Damn Yankees!”
This was so much fun. Sis Liz was singing along with every number. There were two pre-adolescents at our table (new friends) who had never been to live theater ever. They “got it”…and they were entranced.
Director Chris Alberts was very inventive at the curtain, interspersing sound bites of the most popular tunes in the most energetic and spirited opener in NCT’s history.
The credits of the newcomers are impressive: Joe Boyd (Robert Bader) has a stirring tenor and sings a tear-jerking rendition of “Goodbye Old Girl.” He worked with Robert Goulet. The “young” Joe (Chris Stevens), leaves NCT to join a national tour of “Cats.”
A third debut came with Meg Boyd (Janet Wilkie). Her voice was plaintive and her emotions were repressed (such was the case with any good ‘50s homemaker).
Gloria's (Anastasia Bokas) opportunity to shine as the investigative reporter gave her “Shoeless Joe” and she hit a homer. She batted 1.000 this evening.
A smile crossed my face each time Sister (Victoria Healy) and Doris (Colleen McGinnis) appeared. They were irresistible and irrepressible. The ‘50s-era costumes, conceived by costumer Linda Reilly, could not have been more authentic. Aisle Say knows. He was there and once wore those synthetic blends proudly!
The Senators baseball team (Russell Mathews, David Snyder, Dan Sanchez, Rod Rodriguez, Peter Bricotto, David McConney and Steve Stonis), while perhaps not the most athletic bunch of jocks physically, exuded much more “heart” than the Philadelphia Eagles in their recent play. Their harmony was superlative.
Coach Van Buren (Dewey Oriente) and team owner Welch (Paul Goodman) give much more enthusiastic and articulate press conferences than Andy “I’ve gotta do a better job” Reid and Charlie “Mumble” Manuel combined.
Ray Walston as Applegate and Gwen Verdon as Lola (one who had heretofore always gotten what she wants) won Tony Awards for their roles in the original stage productions. Both were in the movie to follow. For a Broadway wonk like Aisle Say, this is the yardstick. Yes, I know, I know, NCT is not Broadway. But Applegate (Patrick Hunt) had full command. His signature “Those Were The Good Old Days,” was as close as one can get to Walston in Hunt’s singular interpretation. As for Lola (Angela Bates Majewksi), that siren voice of Gwen, beckoning a naïve long ball hitter to sell his soul, will never be duplicated. However, Majewski’s attitude and dancing were superb. This role is double cast with Kaylen Acon, an NCT vet.
The NCT is the best value for live theater in the state, and I for one am thrilled they brought back the green olives to the dinner buffet.
If Aisle Say was a ballplayer, an inside the park homerun would be more exciting for me than a grand slam. Loads of drama in that. Just like in this show.
The show runs through Oct. 23. Visit www.NCTstage.org or call (302) 475-2313 for more information.
