'Damn Red Sox..I Mean Yankees'at North Shore Music Theatre

                                                           

            Let me start this review by admitting that I grew up in the Boston/>/> area (specifically Somerville/>/>) during the mid-1950's, the era in which this production of
"Damn Yankees" occurs. Names that ring a bell include Sammy White, Pumpsie Green, Frank Malzone, Don Buddin, Jimmy Piersall, and of course, Ted Williams. This was an era when it was always easy to get a ticket to see the Red Sox (bleacher seats were $1) and when the splendid splinter, Williams, in his last game against the Baltimore Orioles, hit a home run in his final at bat against Jack Fisher, there were 10,454 in the stands.  (Read John Updike's Oct. 22, 1960 essay in the New Yorker Magazine "Hub Fans Bid Kid Adieu", reprinted in the Boston Globe on July 7, 2002).

 

            I'm not sure when exactly "Red Sox Nation" was born. Needless to say, most of all New England is now infected with "Red Sox Fever", especially since the historic 2004 season when the Bosox won the World Series and "reversed the curse", named for the "Curse of the Bambino" in which Babe Ruth was sold to the New York Yankees so the Red Sox owner could produce the musical "No, No, Nanette". So you see, the combination of baseball and musical theater goes way back to 1918.

 

            So, I'm sure it was in the back of the minds of North Shore Music Theatre Artistic Director Jon Kimbell, that if only there was a way to combine that incredible enthusiasm for the Red Sox with something….anything…there just may be an audience for that.  There is an entertaining description of how this has been accomplished in the Playbill.  So, don't expect to see any sign of the Washington Senators. They  have been replaced for this production with the Boston Red Sox. It was a good idea to have a synopsis of the play available from ushers for those who those who are unacquainted with the play.

 

 You walk into the 1,500 seat theater in the round with baseball/style billboards hanging from the rafters advertising  Ted's Root Beer, Hood's ice cream, Marlboro Cigarettes, Gem Blades, Coca-Cola, and over a photo of the scoreboard of the Green Monster, an ad for the Jimmy Fund (which was the only ad allowed at Fenway while Tom Yawkey was the owner).  There are three sets of large lights similar to the tall structures used at Fenway. It was a smart move to include the voices of  Fenway/> Park/>/> announcer Carl Beane and veteran baseball writer Sean McAdam. (If legendary Hall of Fame announcer Curt Gowdy had not just passed away, I'm sure he would have loved to have lent his magical voice to the production).

 

              Director/Choreographer Barry Ivan eschews the overture and starts right away utilizing the excellent male ensemble dressed in those beautiful "right out of the laundry" white Red Sox home uniforms, courtesy of the home team. Thanks to the players wearing their pants the way they were originally intended, you see the entire hosiery of the uniform with the two bold blue stripes and the bright red below and underneath, the white sanitary socks. I believe we can thank Manny Ramirez for the baggy pants look where most players today have their pants reaching the bottom of their spikes without any peak at their hose.  I guess Manny hasn't heard of Cole Porter's "...a glimpse of stocking…" from  "Anything Goes". I do hope this fashion statement (along with those ridiculous long baggy shorts basketball players wear) ends sometime in the near future.

 

Ok…enough about the uniforms. The terrific male ensemble (you'll find no female ensemble here) dances the first number "Hopeless, Hapless Ballet" with zest and energy and using their bats as if they were canes. (I also missed the great overture). The set design (Russel Parkman) includes great use of Boston Globe headlines describing the fruitless and hopeless play of the home team. 

 

It was such a treat to see, Kaye Walbye, reprise her role of Meg from Washington/>/>'s Arena Stage's production which led to her receiving a prestigious Helen Hayes nomination. Instead of having a devoted Senators' fan for a husband, she has traded him in for a rabid Joe Boyd, a fanatic Red Sox fan. This seems SO much more believable! Walbye has such a delicate yet powerful voice and she and the robust Richard Pruitt work exceedingly well together.

 

No question a highlight of any production of "Damn Yankees" is the wonderful hummable "Heart". Watching the players gurgle the theme in the shower brought down the house.  I do admit I was bothered by the word "Coach" on the "Manager's" jacket. Steve Luker's New York/>/> accent I assume was intentional but I would have liked a Boston/>/> accent instead.

 

 George Merrick, who after his sole is sold to the devil, plays the "new and improved" Joe Hardy with a wonderful innocence yet with a strong voice. He was terrific in his interplay with Mr. Applegate played by the devilish Jim Walton who seems to be having the time of his life keeping the "the curse of the Bambino" alive.  His Kennedy impression is right on. Lines such as "I need a Fenway Frank" and "I rented a room in Beverly/>/>" got big laughs.

 

Broadway veteran Shannon Lewis plays the sexy and seductive Lola and her "barely there" costumes (Vincent Scassellati) add to her sensuality.

 

One of the funniest lines added to this production (credit must go to both Kimbell and Joe DiPietro) concerns Meg telling Joe she went to see a game and had to get her ticket from a scalper and "It cost me more than $10!)

 

During intermission the fun continues in the lobby and outside in the beautifully landscaped patio where you can buy ballpark food and watch a video of Red Sox World Series highlights. I noticed many patrons taking this opportunity to relive that momentous occasion.

 

Act II begins with the great "Think About the Game" by the enthusiastic ensemble. I loved seeing the players wearing authentic Converse All-Stars (the sneaker of choice in 1957) which I recall being made at the factory in Malden/>/>.

 

I found one of the highlights the beautiful duet (in the original Broadway production) "Near to You" between Meg and the "young" Joe turned into a trio where the older Joe joins his wife and young Joe. It is the most moving aspect of the show.

 

A clever tool used in "Two Lost Souls" is a terrific jazz alto solo by Robert Bowlby, Jr. who leaves the hallowed orchestra pit (led admirably by Bruce Barnes) to center stage and brings a new dimension to the number. Bowlby blows a mean sax!

 

I'll try not to ruin the clever ending, but let me just say the reason the Red Sox failed to win the World Series had nothing to do with Babe Ruth. I'll leave it at that.  This production obviously cannot have the Senators, I mean Red Sox,  prevail for obvious reasons. To hear Applegate's prescient prediction at the end was quite funny. He mentions three names that will always resonate with Red Sox fans. Bucky Dent, Bill Buckner, and he adds, "Wait till you get a hold of Grady Little". And finally, "The Red Sox won't win the Series for the next 10, 20, 30, until the next Millennium!."

 

During the wonderful reprise of "You Gotta Have Heart" and curtain calls, the Red Sox 2004 Championship banner is unfurled.

 

            While I was disappointed in the lack of complex choreography, this may be attributable to the short 2 and ? weeks of rehearsal time involved. I loved the jazziy bossa nova rhythms utilized in the score but would have loved some strings in the pit.

 

There are so many lines that Red Sox fans will long remember. When young Joe says to the Devil, "Some things are more important than the Red Sox", the Devil responds, "Don't say that too loud in Boston/>/>".  Well, let me say loud and clear, get thee to "DAMN RED SOX, I mean "DAMN YANKEES" for a lasting memoir to baseball in Boston/>/>.  Kudos to the entire cast and crew involved in this fun and wonderfully entertaining production.

 

You can get a sneak peak at the show at www.nsmt.org where you'll find a three minute highlight video. This is a very clever tool in getting people in the door and I envision that other theaters are taking note of this innovation. If you attend the Saturday matinee on May 13, there will be a post-show audience discussion with the cast. This is always a treat. For tickets, call 978.232.7200 or www.nsmt.org.  May 14 Fenway North closes down for good. Don't miss it!!

              Mark your calendars:  October 12-14 Harvard University will be presenting a week-end titled, "Leonard Bernstein, Boston to Broadway". Join noted scholars, critics, Bernstein family members and artists such as director Harold Prince, actor/dancer Chita Rivera, singer Marnie Nixon (the voice for Natalie Wood in "West Side Story") and choreographers Kathleen Marshall and Donald Sadler for concerts, panel discussions, master classes, film screenings, and exhibitions of Bernstein photographs and memorabilia. Registration by mail or online; for more information and to request a brochure, visit www.bernsteinatharvard.org, or call 617-498-8676.  Thanks to Tommy Doyle's Irish Pub in Harvard Sq. for giving out this info.

For comments, you can reach me at cgshubow@broadwayworld.com.

 

 

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