Welcome to America: The Immigrant at FPCT

SHOW INFORMATION: Through June 8. Fri – Sat at 8PM, Sun at 2PM.  Tickets $20, general admission; $17, students and seniors.  Information and tickets: 410-276-7837 or www.fpct.org. 

◊◊◊ out of five.  2 hours, 35 minutes, including intermission.  Mild adult situations and language.

 

Much of what the New York critics had to say about this season's A Catered Affair could be said about the musical The Immigrant, which opened last weekend at Fell's Point Corner Theatre.  Both properties are based on non-musical sources, both are slice of life plays and both are very small.  Many critics, this one included, wondered what was it about A Catered Affair that begged for it to be musicalized. Having seen it, I can tell you that that show uses its music to punctuate moments, and like the ebb and flow of emotions, so to does the music flow in and out of the piece.  There it works. 

I wish I could say the same for The Immigrant.  Here, the songs (lyrics by Sarah Knapp, music by Steven M. Alper) musicalize whole conversations, reenact various religious ceremonies or very occasionally try to be fun comment numbers.  But short of one song, "Travel Light," in which the titular immigrant is writing to his wife about how she will be joining him in America, none of the songs progress the plot or heighten any emotions.  In short, the musical does nothing to enlighten book writer Mark Harelik's original play.  Mostly, I'd say it is a show that wears its derivitivity on its sleeve.  There are very obvious nods to Fiddler on the Roof, The Diary of Anne Frank, and Ragtime, all of which are somewhat insulting to those three works as they trivialize what could have been a unique story with vague similarities.  Even the "money" song, "Stars", which is sung once and reprised twice is indicative of the quality of the music – unmemorable at best, unnoticeable at worst.

The good news is, that despite the musical's shortcomings, the story and characters are interesting, and the production itself is high in production values and sweet, almost unobtrusive direction by Bill Kamberger, who does much better with fewer people in a show (like his previous Last 5 Years and Falsettos) than with more epic shows like Sunday in the Park with George.  Kamberger has done well getting his cast of four focused and working on more detailed characterizations.  His staging, though stilted by long scene changes, is, when the lights are up, very nicely done.  I remember consciously thinking that each time a decade rolled by, it was like we has seen a completed small "playlet," and that each scene has a compact feel to it – episodic, but in a good way.  With his collaborators, Roy Steinman (sets), Charles Danforth (lights), and Helenmary Ball (costumes), Mr. Kamberger has cashed in on the welcome homespun feel of most of the show; often it is like watching tintypes come to life.

Unfortunately, one collaborator, Chris Bassett, musical director could have benefitted form more time to work with the cast on their pitch and tonal quality, both of which were lacking across the board, though I will admit, sometimes it aided in the characterization of all four actors.  Still what is sweet and kind of fitting a couple of times still eventually wears on the eardrums.  Interestingly enough, that very topic was discussed amongst the crowd in the lobby during intermission, with one lady vehemently defending the cast's vocal acumen.  "This score is like singing Sondheim!  Talk-singing is very difficult!"  Hogwash.  I don't know who should feel more insulted, Mr. Sondheim, the writers of The Immigrant or the cast, who is clearly doing the best they can.  The music, very melodic (if unmemorable) is not complex and never once veers into the atonal (a la Sondheim, or even Lloyd Weber).  The truth is that the actors are ACTING their music (and very well, I might add), but in doing so, they are letting their throats close, their noses pinch and very nearly stopping all breath.  One actor, after a particularly long winded song/argument was deep red/purple.  That doesn't happen if you are breathing.  And the problem with that lies squarely in the hands of the musical director.

In spite of everything I've said so far, the cast of four is really very good.  They inhabit their roles like they are actually living them.  There is not a trace of "community theater" acting or overacting, and not a moment goes by that doesn't feel less than genuine and believable.  Stacey R. Needle as Leah, the immigrant wife, has an amazing story arc that requires her to be scared out of her mind, angry and frustrated at losing her own culture to finally embracing the gifts that come with moving to this country.  And Ms. Needle plays every moment perfectly.  She is by turns heartbreaking and lovable.

As the Texan-American couple, you couldn't ask for more in the "married for years" chemistry department than what you get from Adele Russell and Mike Ware.  You would swear they were actually married, not just in how they match wits and go toe to toe, but in the small things – the pats on the hands, the brief flirtatious smiles, the unspoken, but palpable grief at having lost a son.  They are also both very good at playing unfortunate stereotypes both with a subtlety and an hilarious boldness.  Mr. Ware is very funny, particularly when he realizes he likes his new neighbor way more than he could ever let on, and his lit cigar in his pockets shtick is a hoot.  Ms. Russell really scores with her homage to the good Southern Christian woman, piety and homespun wisdom comes flying out of her mouth like exhaust from an old car, to hilarious effect.  Later, when the clash between her Christian beliefs and the Jewish traditions of her new friends comes to a head, it is very sweet and gratifying to watch her work through compromise and acceptance.

The real star of the evening, though is the beautifully charming DC Cathro, as Haskell, the titular immigrant.  His struggles and winning charm warm your heart and make you root for him from the opening seconds – in fact, I may never look at a banana the same way again.  Watching this actor grow as his character's story grows is a bonafide pleasure for all concerned.  Like his co-stars, he mixes up the big, broad moments with the small, fine details like a pro.  There is a scene where Mr. Ware and Mr. Cathro's characters come to an impasse.  That five minutes is among the most powerful I've seen in months.  The anger, self-righteousness and painful grief that each simultaneously display is touching and remarkable.

With or without the music, The Immigrant is a story worth seeing and hearing.  It should remind us all of how great our country is because of our long immigrant history.  And despite its short comings, this production at Fell's Point Corner Theatre is a worthwhile undertaking.

PHOTOS by Ken Stanek.  TOP to BOTTOM: The Immigrant Company; Mike Ware and Adele Russell; DC Cathro and Stacey R. Needle.

 

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