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A CurtainUp DC Review
Diner
As a bunch of guys reminisce in their high school hangout, a diner, the innocence of that decade provides a stark contrast to what we, the audience, know will follow — assassinations, the Vietnam War, civil rights movement, women's movement, mini-skirts, sexual liberation, drugs, the Rolling Stones, the 'net, Starbucks even the Baltimore-based tv series The Wire. Not having seen the movie of the same name written by Barry Levinson, I have no means of comparing it to the musical now premiering at Signature Theatre. Multi-award winner Sheryl Crow provides the music and lyrics while Barry Levinson remains the writer. For the most part, their collaboration succeeds although some judicious pruning of repetitious dialogue, lyrics and superfluous characters would tighten what is now a too long show. Sheryl Crow's take on the music of the '50's, particularly doo wop (a genre native to Baltimore), is well sung and truly enjoyable. The dancing is beautifully choreographed by Kathleen Marshall who also directs. Whether the teens are slow dancing or jitterbugging a peppy number like "Darling, It's You" there is a sweetness to their moves. In fact there is a sweetness to the story line too. The ruse for Levinson and Crow's trip down memory lane is a reunion prior to the wedding of one of the guys. We learn what happened to them post-1959 and the diner that was once their second home. The characters though somewhat stock exude charm. Boogie (Derek Klena rocking a high and wide pompadour a la Elvis Presley and dancing as if his life depended on the beat) is the bad boy who ends up well. Modell (Bryan Fenkart) is a moocher. Billy (Aaron C. Finley, whose ballad "Please Be There" is sung exquisitely) is a moody good guy who does the right thing by his ambitious girl friend. Shrevie (Josh Grisetti) obsessed by his record collection and the music of his generation — Johnny Mathis or Sinatra, which?" he asks — does a terrific duet with Eddie (Adam Kantor) on the subject of marriage ironically titled "It's Good." As for the women, the point is made often that the choices pre-Women's Lib were marriage or secretarial work. The exception was an occasional tv weather girl or assistant to a tv producer. Pre-marital sex was a no-no, and the bride-to-be's wedding is premised on the fact that she can answer a lengthy questionnaire about sports. As an anxious mother Maria Egler is very amusing in her small part and Whitney Bashor's Barbara leads the women in a very good song, "Don't," that warns of the traps women should try to avoid. Where the script veers off on a tangent is in the first act finale as Fenwick (Matthew James Thomas) flings himself about an on-stage Christmas tableau while singing "Last Man Standing," nice song but superfluous in this context. However, several of Crow's songs including the ballads "For What it's Worth" and "Letting Go," sung slowly and with depth of feeling, should do well in a cabaret repertoire. Derek McLane's and James Kronzer's scenic design supplies a real down-home feel to the diner. All that's missing is the aroma of stale coffee and sticky table tops. Paul Tazewell's costumes with the flouncy skirts for jitterbugging and twin sets and pearls for cooking and cleaning at home are faithful reminders of just how dull clothing was before the Swinging '60's. Diner the musical has had one false start start at a regional theaters as well as a cancelled Broadway production. But never mind its checkered past, with some serious editing the show has a promising future.
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