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Kurt Weill Newsletter Volume 14,19, Number 1 13 showed the influence of swing on Weill in “Farewell, Goodbye” Performances (which was cut from the original production and published score). Doing double duty (as did the rest of the cast except for the title character), she also played the saucy French Nurse in Act II, Johnny Johnson attempting to seduce Johnny with a massage in “Mon Ami, My Friend.” Janelle Anne Robinson wrapped her warm, rich mezzo-soprano Musicals in Mufti around “Song of The Goddess” (largely “borrowed” by Weill from the “Youkali” of his Paris years), and Deborah Jean Templin’s The York Theatre Company world-weary but resolute “Aggie’s Song” brought the first big ova- tion of the evening. New York City Another number new to New York audiences is “The West- Pointer Song,” here administered with biting irony by the baby- faced Steve Pacek, who later proved credible as Minny Belle’s ado- 20–22 October 2000 lescent son. In addition to a delightfully fresh Private Harwood, Cervantes turned the Belgian king into a buffoon with an accent Johnny Johnson has always been a problematic show. The premiere redolent of a Monty Python sketch. by the Group Theatre, rehearsed in a small space and performed by Peter Flynn seemed to underplay “Captain Valentine’s Song” actors with limited musical abilities, was dwarfed by the 44th Street but gained hilarity with each verse and, as the nutty Dr. Mahodan, Theatre, the only Broadway house available when the show opened brought the necessary caustic satire to “Psychiatry Song.” With a to mixed-to-negative reviews on 19 November 1936. After sixty- believable German accent, J. Brandon Savage was touching as eight performances, the show disappeared from Broadway but was Johann, the teenaged sniper befriended by Johnny on the battle- selected by Hallie Flanagan in 1937 for field. Different degrees and varieties of Federal Theatre productions in Boston and pomposity were employed by Kenneth Los Angeles. A 1956 revival at the Carnegie Cavett as the Mayor of a small town “some- Hall Playhouse received even more negative where in America,” as the English Sergeant press, and a 1971 Broadway revival at the who extols the delights of Britain’s favorite Edison Theatre closed after the first night. beverage in “Tea Song,” and as the Johnny Johnson’s longest visit to a single American Commander in the “Allied High place came in 1986 with a thirteen-week run Command” scene. Mark Aldrich was aptly at the Odyssey Theatre in Los Angeles. annoying as the slimy mineral-water sales- Musicals in Mufti has a somewhat man and draft-dodger Anguish Howington. kamikaze approach to its semistaged offer- Aaron Lazar made his mark as a military ings of “Broadway’s underappreciated officer befuddled by Johnny’s own personal musicals.” Each show receives five perfor- Cast of Johnny Johnson at the York Theatre. Photo: D.J. form of logic at a recruiting office, as did mances over the course of three days, after a Templin. Erik Stein in no fewer than four brief but scant five days of rehearsal. Actors perform distinctly etched roles. “on book” and piano-vocal arrangements are used. While each actor shone in his individual assignments, the levels Over the years, griping critics have labeled Johnny Johnson of ensemble acting and musicianship were astounding, considering “naïve,” “corny,” “too elementary,” even “irrelevant,” and, I must the brief rehearsal period. Musical director Jeffrey R. Smith deliv- admit, these adjectives were running through my head when I ered particularly touching accompaniments to “Song of the attended the first of the Mufti performances. But by the time a Wounded Frenchmen” and “Song of the Cannons.” young actor named Miguel Cervantes delivered the “Cowboy With the script’s dramatis personae numbering twenty-nine, few Song” totally devoid of affectation, I realized that director Michael are afforded opportunities to fully flesh out their parts, so it is ulti- Montel and his cast of twelve were serving up Paul Green’s book mately left to the title character to hold the piece together. Perry and lyrics and Weill’s music at face value. Has it really taken sixty- Laylon Ojeda’s singing and acting skills fused with near-magical four years to realize that the key to appreciating the enormous chemistry as he met the challenging role of Green’s and Weill’s charms of Johnny Johnson lies in its simplicity and gentle satire? impassioned conscientious objector. After some early problems Unfettered by coyness, overcharacterization, or any attempt to with nailing down a dialect (which seemed to veer from Gomer Pyle apologize for its content, the Mufti production moved over Green’s to Al Gore), Ojeda gave a powerfully understated performance, glib, antiwar message with breakneck speed and found just the right never failing to exude Johnny’s homespun humor, compassion, and mix of sweet and sour. The level of commitment from the cast gen- confusion over his fellow human beings’ obsession with war. Bereft erally kept the audience from noticing that the show was enacted on of a solo number until the show’s finale, Ojeda finally got to open a bare stage, save for a dozen wooden stools, which were used to up and show his vocal stuff in “Johnny’s Song,” surely one of maximum effect to suggest settings and props. On the musical side, Weill’s most poignant and gorgeous melodies. He sang with a Weill’s brilliant orchestrations were sorely missed, especially in the focus, clarity, power, and conviction that brought tears to my eyes non-singing numbers, despite Jeffrey R. Smith’s valiant execution and would have made the show’s creators proud. of the piano reduction. Sherry Boone subtly turned Minny Belle from a steadfast, romantic ingénue into a disillusioned, cold woman by the final Larry L. Lash scene, in which she no longer recognizes her fiancé of many years New York City before. Her silver soprano soared through “O Heart of Love” and 14 Volume 19, Number 1 Kurt Weill Newsletter staging in general was good, marred only by occasional moments of Performances overacting and overuse of slapstick. At times, Michael Cantwell turned the barber, Rodney Hatch, into a cartoon. Also, his voice was not quite up to the role. Especially in the songs “How Much I Love You” and “Wooden Wedding,” he struggled to hold pitch on the One Touch of Venus high notes and to maintain clear diction. However, the second male lead, Ethan Freeman as Whitelaw Savory, played the wealthy, avid London art collector brilliantly with the voice of a consummate singer, espe- cially in his interpretation of the demanding ballad “Doctor Lost Musicals Crippen” at the end of Act I. Jessica Martin, as Molly Grant, Savory’s secretary, was also right on key. Her singing of the title Premiere: 9 December 2000 song was a vocal delight full of wit and charm. Last but far from least, Louise Gold, who also starred as Venus in the 1992 Lost Musicals production, was lusciously seductive, calling to mind the Lost Musicals, the ensemble founded in 1990 to put on neglected original Broadway Venus, the incandescent Mary Martin, physical- or forgotten musicals from the thirties to the sixties, presented for ly as well as vocally. The Venus role is especially demanding, not the second time (after a first production in only in the “Speak Low” solo but also in the 1992 at the Barbican Centre) Kurt Weill’s One up-tempo swing number “I’m a Stranger Touch of Venus in the Linbury Studio Theatre Here Myself.” Thanks to recordings of the at London’s Royal Opera House. The show original production, Martin’s virtuoso inter- saw only five performances, far fewer than the pretation of these two songs undoubtedly original production, whose 567 performances remains the historical standard. Yet Louise marked the longest run of any Weill show on Gold was a valiant successor to the legendary Broadway. Still, fifty-seven years later, the Martin and her delivery of these two songs Lost Musicals production confirmed that was impeccable. Venus possesses original wit, dramatic pace, Kerry Shale (Taxi Black), Daniel and musical innovation. Gillingwater (Stanley), Michael Cantwell, The story is derived from a Roman tale, and Ethan Freeman sang the hilarious “The turned into the novella The Tinted Venus by Trouble with Women” in Weill’s inspired the British author F. Anstey near the end of barbershop quartet arrangement, delivering the nineteenth century. Anstey’s version was the climactic last line, “The trouble with adapted for Broadway by S. J. Perelman and women is men,” with verve and panache. Ogden Nash. The plot, which depicts an Hatch’s fiancée, Gloria Kramer, played by emancipated woman independent of tradi- Lori Haley Fox, could have been more con- tional gender norms, is startlingly modern for vincing, but her mother, Mrs. Kramer (Myra a story written in America in the early 1940s. Sands)—also a cast member in the 1992 pro- One may find its roots in social changes of the duction—made up for any of the daughter’s period: with America’s entry into the Second inadequacy. World War, women were called upon to take Michael Cantwell (Rodney) and Louise Gold (Venus) The Royal Philharmonic Concert over jobs and roles formerly regarded as Orchestra, conducted by Kevin Amos, per- as Venus comes to life. Photo: Ash Scott Lockyer. exclusively male. Whether it was the authors’ formed the original orchestration well, goal to comment subtly on society in their own time we can only although there were some woodwind intonation problems, and the guess. However, we can still sense a compelling timeliness in the undersized string section often was not fully together with the wind plot and are therefore bewildered that one does not encounter instruments and singers, resulting in a thin and gauzy string sound.