Stomp and Shout (an' Work It All Out): New Music

 "A fine little girl she waits for me

Me catch a ship for cross the sea.

Me sail that ship all alone 

Me never think how I make it home."

These innocuous sentiments from a bluesy sea chantey called "Louie Louie" became the subject of a national controversy in the 1960s when it was alleged that the incomprehensible singer of the Kingsmen was actually singing obscene lyrics.  Concerned Parents complained to the government, and an FBI probe was launched.   James Carmichael's brilliant new play Stomp and Shout (an' Work It All Out), is based on this true story.

Carmichael's play is, by turns, fascinating, hilarious, and touching.  In scope it resembles nothing so much as E.L. Doctorow's masterpiece Ragtime, with its shared themes of political action, diverse-yet-connected American lives, and how the art of new music can affect history.  Even with the humorous nostalgia of the piece, the characters are real people who live and breathe. We feel for them and understand them.  It's a Ragtime of the 60s era; I was riveted.

The cast is truly superb: Jeremy Schwartz, as Oxley, one of the FBI men, unravels magnificently, getting more and more desperate as the investigation yields less and less information.  Frank Rodriguez, as Rasco, the other FBI man, is a willfully deadpan presence with passion bubbling underneath.  William Jackson Harper is dead-on as Ray Chess, an idealistic radical college student who may be keeping secrets.  Katrina Foy has beautiful moments as Cristy, Rasco's rebellious teenage daughter, who begins a relationship with Ray as she becomes interested in his politics.  Joseph C. Sullivan is great as a befuddled US Assistant Attorney who is trying to do the right thing.  The minor characters are also wonderful- there's not enough of Geraldine Bartlett, who plays two Concerned Mothers with aplomb.  Brian D. Coats (whose work I've always enjoyed) has one great scene as Richard Berry, the song's author.  Joe Mullen does nice work as a succession of bright-eyed young men.  Carolyn McCandlish is a delight every moment she's onstage.  Christopher Rubin is wonderfully addled as the governor, and is very funny in an early scene as a Concerned Father.  Andrew Zimmerman is completely out there in his scene as the possibly-stoned, possibly- insane Jack.  And Khris Lewin stops the damn show in his all-too-brief scene as a New York Jewish record executive.

Geordie Broadwater directs each moment clearly without losing track of the play's gestalt; we're clearly in good hands with him.  Tristan Jeffers' scenic design is both practical and symbolic, the walls full of shelving stacked with record albums, puzzles, and games (though from where I was sitting, it was sometimes difficult to read the projected scene titles).  Lighting design by Eric Southern is very effective, isolating characters and scenes and deftly drawing focus to the correct places.  Costume design by Becky Lasky sets the scene perfectly, and her little details (like the checked socks on the record executive) are a delight.  The wonderful sound design by Matt Hubbs deserves a special nod, in a show as music-heavy as this one.

Babel Theatre Project has really hit the nail on the head with this hugely exciting piece.  Be there or be square.

Stomp and Shout (an' Work it All Out)
The 45th Street Theatre Upstairs
354 West 45th Street
Now through June 21
Performance schedule: Wed- Sat @ 8pm
Tickets are $18 and can be purchased at Theatermania.com or (212) 352-3101
Running time 2 hours

Photos byRachel Roberts
1) Frank Rodriguez, Jeremy Schwartz, Christopher Rubin, and Joe Mullen.
2) Katrina Foy and William Jackson Harper

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