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Review: Yank! At the NYMTF

By: Sep. 19, 2005
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There will be those who will criticize the new musical Yank! claiming that it is a patchwork of moments that have worked in other musicals. True, there's a scene reminiscent of "Honey Bun" from South Pacific and another that strongly recalls the Carmen Miranda number in Kiss Of The Spider Woman-- as well as more than just a few others scattered throughout the piece. However, these all appear to be homage to previous works in the musical comedy canon. That becomes clearly apparent in the second act when a dream ballet takes on a keen resemblance to the works Agnes DeMille created for Oklahoma! and Carousel many years ago. One might even realize that this particular show's title features the exclamation point that was ever so popular in musical comedies of the past. Still, Yank! is an original work featuring a pleasant score and something that is missing from too many musicals this day: heart.

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With music by Joseph Zellnik and a book and lyrics by David Zellnik, Yank! tells the story of how gays and lesbians existed in military service during World War II. At its center is Stu, a 19 year old male who enters the Army unsure of his sexuality. Quickly, other draftees begin applying nicknames to him and regarding him as an "invert", or "queer". Stu, played by Doug Kreeger, is taken under the wing of Mitch (Ivan Hernandez), who oozes testosterone with every step he takes. Although Mitch steadfastly clings to his machismo, he is soon calling the younger man "Sweetheart" and developing amorous feelings for him. Their relationship become an emotional seesaw and brings strong dramatic tension to the end of the first act.

The supporting cast is exceptionally good. Jeffrey J. Bateman, Joey Dudding, Daniel Frank Kelley and Tally Sessions serve as members of Stu's squad and provide some fine vocalizing.  Jeffry Denman is outstanding as Artie, the reporter for Yank magazine who recruits Stu as his photographer in an effort to get him away from combat duty. James Patterson contributes impressive work both as Sarge and as the Doctor, while the sole female in the cast, Julie Foldesi, manages to sing in different musical styles as she appears in a succession of different characters, She even maintains her dignity while singing a deliberately awful county western number called "The Greatest Generation". Her finest moment in the show, though, is "The Saddest Girl What Am", in which she bemoans the fate of Uncle Sam taking all the best men and leaving the stragglers to America's distaff population.

However, it is Doug Kreeger who creates the greatest impression on the audience. Kreeger, who was a slitheringly sensuous murderer in Thrill Me! last season, went on to receive rave reviews for his performance in Swimming Upstream more recently and won the Fringe Award as "Best Actor" in the process. He clearly proves that he is a bona fide musical comedy star in Yank!. His lilting tenor voice soars in such songs as "Won't You Let Me Be Your Buddy?" and "Just True". He shows off superb skill as a tap dancer in "Click" which he performs with Denman. In Kreeger's capable hands (and feet), the character of Stu matures as he masters Denman's metaphoric dance steps and charms the audience while doing so. He begins the number as a closeted youth and emerges from it as a man far more comfortable with his sexuality. As an actor, Kreeger is so skilled that his silent moments on stage become his most effective times for conveying emotion and motivation. It is a pleasure to watch him with Hernandez while other cast members are singing. Body language and facial expression say more about the bond which has developed between the two men than any soliloquy could express.

It must be mentioned, that no matter how outstanding Doug Kreeger is in this show, he is given ample support from the cast, particularly from Hernandez, who manages to make Mitch both appealing and rough simultaneously. His rendition of "Rememb'ring You" at the end of the evening is enormously touching.

As directed by Igor Goldin, the evening moved along at a remarkable pace. The simple sets provided by Ray Klausen suggested numerous locations and never once slowed the proceedings. The tasteful costumes by Wade Laboissonnaire were modest but appropriate and colorful when called to be so. Rob Berman led the small band, which demonstrated great nuance as they performed Zellnik and Zellnik's eclectic score. If there is a cavil, it's the length of choreograher Chase Brock's "Stuck In A Cell" ballet. Although it hits its mark and lovingly parodies the work of DeMille, it goes on just a bit longer than necessary and might be improved by some judicious pruning. Still, this NY Musical Theater Festival production is a gem.

Yank! provides the audience with good entertainment and is served up with great professionalism. It is hoped that this handful of performances will not be the last that audiences see of Yank! Let's hope that it reappears in our area soon., When it does, we can only hope that Doug Kreeger is once again center stage. Both he and the show are too good to lose track of!

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