BWW Reviews: 54 Below Sings a Crackerjack Version of the Ahrens & Flaherty Musical 'A Man of No Importance'

Based on the 1994 Albert Finney film, the musical A Man of No Importance played at New York's Mitzi E. Newhouse Theater, Lincoln Center in 2002, then earned 2003's Outer Circle Critics Award for authors Lynn Ahrens (Lyrics--photo far left), Stephen Flaherty (Music--photo left), and Terrance McNally (Book.)

The 1964 tale of sensitive, Dublin bus conductor Alfie Byrne revolves around an amateur theater group he directs at a local church, his sister Lily, who has sworn not to marry boyfriend Carney until Alfie is well fixed, Adele whom Alfie wants to star in his production and with whom Lily plots to pair her brother, and Alfie's secret love, bus driver Robbie Fay.

Staunchly Catholic upbringing and surrounding community make the hero's acknowledging his homosexuality socially abhorrent and psychologically unbearable--a sin. A desperate attempt to be who he is results in detestable consequences. How does one live a genuine life under those circumstances?

This past Sunday (for two performances), 54 Below staged a concert version of A Man of No Importance as part of their popular 54 Below Sings . . . series. As Alfie in this production, Christopher Fitzgerald (photo below left) turns in a nuanced performance far exceeding concert version expectations. He's palpably the wretched, tender soul described. Songs like the self-recriminating "Man in the Mirror," wistful "Love Who You Love," and, at last, brave and frightened "Welcome to the World" all feel authentic. Fitzgerald remains in character even when listening to another singer. His Irish accent is pristine.

Marin Mazzie (Lily--center in photo right) also exhibits investment worthy of a staged show. Comic phrasing is marvelous for the subversively funny "Books" (regard for books, Lily thinks, is clearly one of the peculiarities that keep Alfie from marrying.) The actress imbues "Tell Me Why" with wrenching hurt, anger, and sympathy. Deft direction has the beaten Alfie exit before she whispers "You must know I'd love you all the same."

Rose Hemmingway (Adele--photo below center) delivers a modest, forthright, country girl with apt hesitations and visible thought. The vocalist's voice is both spirited and appealing. Douglas Sills (Carney--photo above right) employs his own deft accent and full-blooded vocal tone to a perfect wry duet with Lily, company numbers, and a somewhat less distinctive Oscar Wilde.

James Snyder's Robbie (photo below left) shows himself a selfish, fun loving cad from the moment we meet. "The Streets of Dublin" arrives infectiously exuberant, evoking traditional material. "It's the laughter of fellas with stories to tell/Men who love to get drunk and raise true feckin' hell!" Snyder's charismatic voice soars.

Jim Norton (photo below right), as Baldy, an older member of St. Imelda's Players, offers a delicate "The Cuddles Mary Gave." Among those things he cherished about his deceased wife "She made the soda bread of angels and the house was always clean . . ." cuddles remain most missed. The tremulous song conjures a snow globe or antique music box. Norton's last look at Alfie before leaving the stage encompasses every previous sentiment.

"Going Up," an ebullient we're-putting-on-a-show number and "Art," the ragtag amateurs' answer to production needs, are richly orchestrated and beautifully performed. Each and every member of the company creates an animated character in mere minutes. A call out should be made to Klea Blackhurst for her broadly droll, tap-accompanied verse.

Lyricist Lynn Ahrens has a great deal in common with the late, great Dorothy Fields. Thoughts and feelings are unambiguous even when poetic. An Ahrens song sounds natural, often conversational, exhibiting an awareness of what can be effectively vocalized. Images are particular to time, place and character. Humor is clever, not clumsy. There's never a lazy rhyme.

Composer Stephen Flaherty blends era, geography, and emotion with the warp and woof of his own, textural style. Fiddle and flute in tonight's arrangements make magic. Romance never sounds generic. The most feathery number is not slight. Flaherty can lift one off the ground with buoyancy, tickle an audience, or halt one's breath.

Sound Design has never been better at 54 Below. Often performing from offstage, the ensemble came across clear and well balanced. Every instrument in the terrific band shone when appropriate while not losing influence in the mix.

The Ensemble: Ryan Andes, Lauren Blackman, Janet Dickinson, Aaron Galligan-Stierle, Klea Blackhurst, Jennifer Simard, Andy Taylor

The Band: Shawn Gough (Musical Director), Keith Bonner, Antoine Silverman, Andrew Zinsmeister, Alan Stevens Hewitt, Damien Bassman

March 15, 2015
Produced and Directed by T. Oliver Smith

To post a comment, you must register and login.