Broadway Blogs - I Love My Wife: There's No Place Like Home and More...

One of the many reasons I've been a fan of the Opening Doors Theatre Company since their debut production of Bring Back Birdie two-and-a-half years ago is the consistent ability of their directors and choreographers to have as many as a dozen actors singing and dancing on the small cabaret stage of The Duplex (already occupied by a piano) without ever looking crowded.  But that's not a concern with their newest venture, the hilarious and tuneful Cy Coleman/Michael Stewart 1977 musical, I Love My Wife.

But the fact that the latest entry in their Closing Notice series employs the same number of performers that were needed when the show opened at the Barrymore (8) is not the only thing that separates this one from Producer/Artistic Director SuzAnne Adams' previous mountings.  While Closing Notice has been dedicated to revisiting less-successful outings such as Fade Out-Fade In and The Best Little Whorehouse Goes Public, I Love My Wife was a pretty popular hit in its day.  The story of two married couples from Trenton, New Jersey who awkwardly try and spice up their sex lives by arranging a Christmas Eve foursome (only to discover that their heart's desire lies no further than their own back yard) ran for 857 Broadway performances and earned Tony Awards for director Gene Saks and star (though nominated as featured actor) Lenny Baker.  Sadly, this would be Baker's last stage role as he succumbed to cancer in 1982.  The cast also included future Tony winners James Naughton and Joanna Gleason.

And while I Love My Wife hasn't been completely ignored by regional theatres and amateur groups, its post-Broadway popularity was most likely stifled by the tragedy of the AIDS epidemic, which quickly made the idea of a musical comedy about casual sex less hip and less funny.  Also, the comical second act vaudevillian showstopper about recreational drug use called, "Everybody Today Is Turning On," may not have played well during the era of "Just Say No."

But try telling that to the opening night crowd, laughing their assorted heads off at Stewart's fast and funny book coupled with the light wit of his first set of Broadway lyrics.  Coleman provides a scrumptious assortment of musical styles including an insanely catchy barrelhouse number ("Hey There, Good Times") a twangy consideration of marital settling ("Someone Wonderful I Missed") and a jaunty jazz riff on the pleasures of pluralism ("By Threes").  With the show trimmed to an intemissionless 90 minutes (only one song, "Scream," has been completely axed), director/choreographer Marc Tumminelli's tone of sophistication and silliness helps the material play like a song and sketch revue that fits very comfortably in the cozy space.  (Stephanie Fittro contributes as co-choreographer.)

The terrific octet of performers fit the comic style and familiar character types like a latex glove, with Nicholas Marinucci as the slightly sleazy wannabe swinger, Wally; Billy Ernst as his innocent and amiable pal, Alvin; Christy Faber as the cute and kittenish Cleo and Jean McCormick as the tightly wound Monica, who can get a little trashy in Alvin's musical fantasies.  Adding to the fun are Ted Kociolek (piano/music direction), Dennis Michael Keefe (bass), Gregory Jon Phelps and Lou Steele as an ever present quartet of acting and singing commentators.  While the score doesn't provide the opportunity for vocal flourishes (save for some charged up belting by Faber in her pop anthem, "Love Revolution"), the cast sounds great singing appropriately as everyday people, with tight harmonies sounding crisp and clear.  (No amplification, by the way.)

Leave Comments