Review: I DO, I DO at Revolution Stage Company

Strong vocals carry the night at Revolution’s production of the dated, but funny, I Do, I Do. With book and lyrics by clever lyricist Tom Jones, the only song you might recall is My Cup Runneth Over, which landed on the Billboard’s 100 in 1967 in the 82nd spot rising to number eight.

Jones gives us some very funny lyrics wrapped up in this musical about a couple, Michael (Gary Powers) and Agnes (Francesca Amari) and their journey through 40 years of married life starting with their wedding. Michael has a good career as a novelist and we quickly find out, has a thing or two to learn about how he treats his wife, which he only realizes as he steps into old age, proudly showing Agnes how much he loves and appreciates her by gifting her with a charm bracelet. And all is swell again.  

First I will say that I had an enjoyable time. Like I said, Amari and Powers can both sing, and do a great job with the mostly likable lyrics and music. 

In its day, this musical’s simplicity might have been relatable but in today’s world not so much. While some might think it needs to be in its original form - a young Michael and Agnes age together - I disagree. This production begins with an anniversary party with a mature couple inviting their guests (us) to have a look back with them at their life’s journey at their 40th anniversary. Although there was nothing else to indicate that this is a party (I.e. banner or balloons) I was expecting the show would somehow continue with this theme with some creative choices and supporting production values, but when we were finally back at the party near the end, I'd forgotten. So, the conceit of an anniversary party at the top is merely used to justify mature casting. It could have given the show better framing and something to write home about had the thread been pulled through. 

Instead, I forgot we were looking back, and I was rooting for Agnes to get out, maybe even live in that boarding house she talks about to live. (Yes, there is a line about a boarding house, that’s how old this play is.)  If I were consistently reminded that this is a journey through their past, it is from a different time, then it’s just, oh yeah, I remember when life was like this - when husbands looked at their partners as a pretty face and trim physique, and then after they have babies, as household staff, while they look for other more adoring, less exhausted younger women. Ironic for a man who sings I Love My Wife.  

I Do, I Do is based on the play The Fourposter. Written in 1952, Jan de Hartog's play takes us from 1895-1945, but the musical was written in the 1960s. There seems to be a nod to women’s discontent from Agnes, but I will admit A Well Known Fact got under my skin. Yes, it’s a musical, and yes the song is a funny (?) treatise about a woman’s value by a pompous man, and thankfully Agnes rolls her eyes at Michael, but broader, humorous visual commentary from Amari might have given the words a better landing. 

**NOTE: I have edited this review for many reasons, grammatical errors, and the misidentification of a song. I apologize for those errors. Concurrently, I had someone in my ear telling me politics shouldn't come into reviews. This is not politics. This is the female experience. It is my understanding that many of the more misogynistic lines were cut, which leads me to believe there was recognition that the material was offensive. And so, I feel the need to defend myself. This is only the second time in my five years reviewing that I thought a show had a bit of tone deafness to it. Once had to do with choices women were allowed to make in the 1970s - and was not done ironically. This came less than two years after RvW got overturned and after 50 years of bodily autonomy. If a play offends you, one of two things is going on: it's doing its job, or it hasn't been thought through. In an election year with so much at stake, and tensions high, I Do, I Do doesn't feel like a mindful choice in its current form. 

There are absolutely call out numbers, like Amari’s raucous and delightful performance of Flaming Alice, that brought the house down. And Powers' hilarious The Father of the Bride which begins, “My daughter is marrying an idiot. Also, Amari’s rendition of What is a Woman? is absolutely gorgeous.

As to the choice of the musical, I also understand that musical rights can be expensive, and The Revolution is working hard to give us plenty of options for their 2024/25 season; they’ve acquired a few good “gets”, along with some solid fan favorites for a very aggressive season. So the idea of reviving a less-performed, (presumably) less-expensive, well-written musical is a great idea if the production is thoughtful and creative. 

Those who love musicals in general will overlook some of the dated ideas and references, so if that’s you, go without hesitation and enjoy. Like I said, it’s funny, and well performed. Amari and Powers do solid work with accompanist and musical director Michael Kundari who played the hell out of that piano. 

Again, had there been a creative twist in the production design it might have helped this feel less dated, and with the talent on the stage, this could have been a must-see production for me.

I Do, I Do runs through October 27th at Revolution Stage Company. Tickets here. 

Cast:

Agnes: Francesca Amari

Michael: Gary Powers

Production: 

Director: Roger Welch

Musical Director: Michael Cundari

Set: Miguel Lauri

Stage Manager/Lights: Mariah Pryor

Sound Design: Kelly McGuire

Costumes & Props: Emma Bibo

Backstage Assistants: Heather Joy and Joanne Tracy.

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