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 Try to Remember (also in his 1960s musical The Fantasticks), which landed on the Billboard’s 100 in 1965 not once, but three times by three different artists. 

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 (I’ll get to that.) 

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. Using their photo album as a device is a fun idea, and had the production followed through on that concept, this play may have journeyed into this century better. 

If, for instance, at the beginning and end of each scene, there is a flash of lights, as if a photo was taken, then the photo of the scene we are about to see appears on the screen behind them with the date it was taken handwritten across the bottom - like an actual old-timey photo album, the conceit would be a fun follow through. At the end of each scene, an animated screen page turns, there’s another flash and we are onto the next snapshot. Pretty sure Pryor has the chops to pull that off. But the conceit of an anniversary party is merely used to justify mature casting. It could have given the show better framing and something to write home about.

Instead, I forgot we were looking back, and I was rooting for Agnes to get out, and maybe even live in that boarding house she talks about. (Yes, there is a line about a boarding house, that’s how old this play is.) But if I were consistently reminded that this is their photo album, it is from a different time, then it’s just, oh yeah, I remember when life was like this: when husbands look at their partners as a pretty face and trim physique, and then after the babies, as staff; justifying an extramarital affair because their wife doesn’t have time to dote on them like their adoring fans, but after an argument about it - she seems to take it as part of the norm for a wife. Again, I will tell you that it is funny, and it is well sung and performed. It is the way in which the material was presented, for me, that keeps it down. 

I Do, I Do is based on the play The Fourposter. Written in 1952, Jan de Hartig’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 one song in particular really got under my skin. Yes, it’s a musical, and yes the song is a funny (?) treatise about a woman’s value, compared to men, but well - you be the judge of the sentiment:

Women, you see, are different from men

They look marvelous when they're young

But then, when a woman achieves her matron station

There begins a certain process of - well.

Deterioration

It’s a joke for sure, as he goes on to talk about men like they are fine wine while Agnes rolls her eyes at him. But the truth of the matter is, this was how everyone, including many women, felt about women in the 1960s. And many still feel that way today. TBH it would have been fun to see Agnes making fun of his appearance while he's singing that. Would have made it more palatable.

There are absolutely call out numbers, like Amari’s raucous and delightful performance of Flaming Alice, and Power’s hilarious The Father of the Bride which begins, “My daughter is marrying an idiot.”

And while Amari’s rendition of What is a Woman? is absolutely gorgeous, the final message of the song is: 

To be a woman

Means being lonely.

That's why a woman

Is only alive

When in love.

Once again, I will say that for the most part, I enjoyed myself, and the rest of the lyrics were quite funny or touching. 

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 to help 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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