REVIEW: Baltimore’s Spotlighters Spoof MAMALEHs with Love

 Over the past two weeks, I’ve had the opportunity to see 3 new local productions, two of them about the female bond, and two directed by the same person.  Of the three, the sweet new musical, MAMALEH! (Book and Lyrics by Mitchell Uscher, Music by Roy Singer) at Spotlighters comes off the best, due in large part to the director, Sherrionne Brown (who co-directs with FUZZ Roark).  As was evidenced by her other recent work (After Dinner at FPCT), Ms. Brown really knows how to get delightful, surprisingly deep performances and blissful chemistry from her cast, despite the relatively meager help the script provides.  These actresses and their directors could do wonders for that third show I saw this week.  But I digress.

MAMALEH! does for the Jewish mother what Nunsense does for nuns or what I Love You, You’re Perfect, Now Change does for couples, and what Trolls does for aging gay men.  It is a loving send up of all the societal and social stereotypes of its subject matter, while still being reverential and respectful of the real thing.  As one of the characters says in Act Two, “We laugh at ourselves because the jokes don’t define us.”  And this is true of MAMALEH! in more ways than one.  True, it covers well-trod territory; the Yiddish is thick, the accents thicker (nice job, Jeannie Marcus, dialect coach) as the ladies kvetch, tease, laugh and cry.  Every stereotype is represented from reminiscing about those famous Catskills getaways (no Patrick Swayze in sight, though), to forcing down a third helping of Grandma’s cooking, to longing for retirement in Boca, all of which are performed with a twinkle in the eye and a gentle wink-wink to the audience.  The thinnest of plotlines (just think Canasta) is really just an excuse for little bits of funny dialogue, snappy dance numbers and the occasional sweet ballad.  It is also true that MAMALEH! doesn’t define Jewish mothers – it defines all mothers, which is the real magic here.  Not being Jewish myself, I had no trouble understanding any of it, because the truth is motherhood and family are universal.  Watching the older ladies in the audience laugh hysterically, and be moved to a tearful glisten in their eyes was proof positive that this crosses generations and religion.  And, I’ll admit, I had a lump in my throat from the opening number (the stirring “Mamaleh”), missing my grandma and my own Mamaleh, who, ironically enough has retired to Florida.

Only occasionally, does the production falter, and in ways I was surprised at, considering the pedigree of the creative staff and cast, all of whom have extensive credits.  There were a few times (the first time since I’ve been reviewing shows at Spotlighters, actually) where the blocking seemed awkward and almost unnatural, which is surprising given the expertise of co-directors Roark and Brown, who have directed many an acclaimed production on that very stage.  Similarly, well-credited choreographer Douglas Kotula, seemed to have trouble finding many steps beyond a box step, a Charleston-esque footwork/jazz hands combo, and the Tevye “If I Were a Rich Man” hands in the air-cross step combo.  Granted, space is limited, as is apparently the dance skill of a couple of the actresses.  And when he lets go a little and gets creative (the “Boca” number is a fun one, and uses beach towels to great effect) you can see what this up-and-comer is capable of.  I’d like to see what Mr. Kotula could do with a large chorus of leggy beauties on a bigger stage.  I have no doubt Baltimore audiences will get to see just that and soon.

Clearly, the entire cast was chosen for their vocal ability, as each possesses a fine instrument, ideally suited for that theatre, this piece, and their characters specifically.  Singing is clearly where they feel most comfortable, for there is never an awkward moment or lack of confidence when the music is on and songs are being sung.  And like the wonderful ensemble they are, where each may be individually weaker or nervous, the others bolster and support.  Suzanne Young as Sonya, the grandmother, is just wonderful, plumbing the depths of the character with grace, dignity, and wonderful facial expressions.  Like any real grandmother, Sonya’s life experience can be seen in her eyes, and Ms. Young does so much acting with her eyes it is a marvel.  Best of all, the script calls for her to really let loose playing a hotel bellman and a waitress in two extended sketches within the show.  You can tell she relishes the chance to break out, and she scores.  The waitress scene alone is worth the price of admission.  As Sonya’s granddaughter, Debra, Deborah Miller also does terrific work as a new mother who wants to balance time honored traditions (“The Bat-Mitzvah”) with 21^st century feminist opportunity (“The Winds of Life”).  And like Ms. Young, when Ms. Miller gets to break out of character for a small sketch, she really makes the most of it.  Sharon Kneebone as Maddy, the oft-married sophisticate of the group does a nice job as the Jewish mother I’m most familiar with (these are the ladies who attend Broadway matinees), and she is by far the best dancer.  She is less successful in her longer dialogue scenes in act two, never quite being believable, with her emotions seeming to be by rote rather than by nature as she is in other smaller bits.  Donna M. Davis’s Frieda, the mother of Debra, is beautifully sung, and when she is singing, Ms. Davis is most comfortable in Frieda’s sensibly chic shoes.  She does pretty well with the piece’s few dramatic moments, but a lot of the time genuine character seems to have been sacrificed for getting that accent down just right.  The other friend of the group, Jenny, played by Bonnie Sarf, has been given the least to do, and Ms. Sarf does the best she can, mostly.  There are times when she looks almost scared on stage (which, given her extensive acting credits is a surprise), and she definitely looks uncomfortable throughout.  All of that said, even the weakest onstage moments still enlighten and, best of all, entertain.  And one never feels like they aren’t giving 100%, 100% of the time.

All five women give and take and support in all of those intangible ways that make the audience feel genuine warmth and affection emanating from the stage – and this is perfect for this type of show.  Other shows that focus on the female bond might find spending a couple of hours at Spotlighters to their benefit.  And anyone with a mother (and I think that covers all of us) would also benefit from the feel-good show of this Mother’s Day season.  So, get her away from the stove, pack her in the car, and get your mother to Spotlighters – she’ll appreciate it, and you might just appreciate her all the more, too.

This Sunday's (May 7th) matinee at 2pm is a benefit for the Maryland Affiliate of the Susan G. Komen Breast Cancer Foundation.  Tickets are $30, including the show and a lite fare reception following the performance.  Reservations are strongly recommended and can be made by calling 410-752-1225 or online at www.spotlighters.org.  Great cause, great show - don't miss it!

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