Review: For Those Who Say They Want a REVOLUTION, the Political, Passionate, and Patriotic Derow-France Duo Show at the Duplex Is One To See Tonight

Based on the promotion of their new duo show, Revolution (a four-show run that ends at the Duplex tonight at 6:30), you might have gotten the impression that Dawn Derow (right in photo) and Kathleen France would be engaging in a zany bit of fluff poking fun at American military politics in a Bob Hope USO Show kinda way. But while there is definitely some frivolity and even some biting satire along the way, the women also convey a serious sense of patriotism and reverence for those who have fought and died in America's many wars. In fact, a portion of the audience cover charge is being donated to the Wounded Warrior Project (www.woundedwarriourproject.org).

For their opening number during their set this past Sunday night, Derow and France--silhouetted against a blood-red backdrop--literally march on stage like good little soldiers dressed in camouflage army fatigues. The duo opens with "Bottom of the River" (Eric & Ian Holljes from the American Folk Rock Group, Delta Rae's, 2012 debut album Carry the Fire), with France taking the powerful lead vocal and wailing out an ominous spiritual folk song suggestive of impending murder and mayhem.

If you get sleep or if you get none
The Cock's gonna call in the morning, baby
Check the cupboard for your daddy's gun
Red sun rises like an early warning
The Lord's gonna come for your first born son

When the women snap to attention and with deadly military precision hand off to each other invisible rifles-in bayonets poised for attack mode--you realize this is no USO show. It is war, baby, war; a militaristic history of our country set to music. Since this is a country that loves it's guns (the bigger the better), they offer up a biting satirical delivery of Stephen Sondheim's "The Gun Song" (from the musical, Assassins) with Musical Director/Pianist, Andrew Sotomayor adding his voice to Derow and France's sublimely blended vocal harmonies.

It takes a lot of men to make a gun
Hundreds, many men to make a gun
And all you have to do
Is move your little finger
Move your little finger and -
You can change the world

In an attempt to explain the "battle plan of mankind," France and Derow join forces for a wonderfully macabre, clownish, almost vaudevillian staging of "War Is a Science" (by Stephen Schwartz from the musical Pippin.), followed by Derow's chilling first solo, a haunting Sotomayor arrangement of the 1966 Buffalo Springfield song, "For What It's Worth," (Stephen Stills). Then we're on to the Civil War with a fun little quiz-show skit, "Know Your Revolution." With France playing the game show host (displaying great comic timing and improvisational skills) and Derow the southern belle contestant, their onstage chemistry is obvious. France bullies the audience into playing "war games," where we learn the staggering fact that out of our nation's 238 years of existence, we've been at war for all but 21 of those years. Then comes an exhilarating, crowd pleasing Civil War medley of George M. Cohen's "Yankee Doodle Dandy," "Dixie" (Daniel D. Emmett/W. Steffe), and "Battle Hymn of the Republic" (Julia Ward Howe). Derow follows with her superbly sung second solo of the evening, the beautiful "Flagmaker" (from Jason Robert Brown's 1997 revue, Songs From a New World). [Photo above by Takako Sazuki Harkness]

The show jumps ahead to WWI and the duo encourages the audience to join in on a rousing "Over There" (Cohen's patriotic and propagandistic World War I tune that helped recruit American young men into the military for two "great" wars). Up to this point the show is moving at blitzkrieg speed, but suddenly comes to a halt, as if an advancing Army has been stopped in its tracks. France and Derow depart the stage (for a costume change), while Sotomayer sings a softly introspective rendition of E.Y. Harburg and Jay Gorney's Depression-era classic, "Brother Can You Spare A Dime." As these women have remarkably versatile voices this seems a missed opportunity for either or both of the women (together their sounds blend beautifully) to deliver their take on a song that 84 years since it was written still remains a powerful message on poverty.

During a brief section on WWII, France performs one of the highlights of the evening, a poignant rendition of "White Cliffs of Dover" (Walter Kent), displaying her classically trained gorgeous soprano voice. One of the show's most heart-wrenching and poignant moments comes next when Sotomayer joins the duo on the 2002 Dixie Chicks hit "Travelin' Soldier" (written by Bruce Robison in 1996) during which he, France and Derow read actual letters from lonely WWII soldiers longing to go back home. There didn't seem to be a dry eye in the Duplex during this one.

The 1950's Korean War was represented by "Suicide Is Painless" (by Mike Altman/Johnny Mandel from the movie Mash), which Derow powerfully delivered while perched atop the piano. France then took the audience to the Viet Nam war, belting out the powerful "Easy To Be Hard" (Galt MacDermot from the1968 Broadway musical Hair), followed by a medley of the five classic protest songs, "War" (Norman Whitfield), "Fortunate Son" (John Fogerty), "Shout" (Roland Orzabal and Ian Stanley), "What's So Funny About Peace, Love & Understanding" (Nick Lowe), and "Think" (Aretha Franklin and Ted White).

After one more riff on "War Is A Science" (this time with timely new lyrics by the show's director, Lennie Watts), France and Derow shine a light on the battles America and all the world face today, including those to protect Mother Earth--through "Talkin' Bout A Revolution" (Tracy Chapman), "Earth Song" (Michael Jackson), and "I Need To Wake Up" (Melissa Etheridge). But the best is saved for last--the stunningly stark encore with the 2009 Trace Adkins hit, "Till The Last Shot's Fired" (by Rob Crosby & Doug Johnson).

The fine musicians that supported Revolution made up a tight and stellar band, including Sean Harkness on guitar, Donna Kelly on percussion, David White on bass, and Scott Tran on violin, all under Sotomayor's excellent musical direction on piano. A 21-gun salute should go to the show's director Lennie Watts, who helped these talented ladies cleverly incorporate satire, vaudeville, improvisational-style skit humor, and powerful music into a patriotic and passionate performance. This Derow-France production is a hugely ambitious endeavor that could easily transfer to an off-Broadway theatre venue or at the very least, have another healthy cabaret club run. After all, who wouldn't appreciate a wonderful show where the performances are dedicated to the men and women who serve our country?

Say a prayer for peace
For every fallen son
Set my spirit free
Let me lay down my gun
Sweet mother Mary I'm so tired
But I can't come home 'till the last shot's fired.

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