Review: SHE LOVES ME at Signature Theatre

A creamy confection drenched with a masterful book by Joe Masteroff, the classic rom com of musicals She Loves Me moves with amorous and sparkling abandon at the acclaimed Signature Theatre. A large ensemble cast delivers the goods in this superb intermingling of old-world charm and contemporary relevance. The race for romance is on and this production feels like a breezy interlude from the cares of the world thanks to the meticulous synchronization of every element of this classic musical. Under the Direction of Matthew Gardiner, professional polish and pizazz permeates every facet of this production.

To get to the gist of the musical---Romance and comedic complications are in the air in 1930's Budapest as two caustic co-workers (unknown to each other) are unknowingly writing romantic pen pal to each other ---never realizing that they are co-workers in the same Parfumerie. Mistaken identities and plot complications are explored and a fascinating array of supporting characters compliments the leading players with their own uniquely relevant personal and plot-driven crises.

Based on a play by Miklόs Lászlό entitled Parfumerie, the classic 1940 Ernst Lubitsch film The Shop Around the Corner and the 1949 film In the Good Old Summertime anticipated the creation of the now classic musical She Loves Me on Broadway in 1963. The inspiration for countless revivals as well as the hit film You've Got Mail, this charming musical features a multitude of songs in a variety of styles from composer Jerry Bock and lyricist Sheldon Harnick (who gave us the music and lyrics for the beloved musical Fiddler on the Roof).

The music is rich and varied including large ensemble numbers, romantic ballads, novelty songs and duets that unspool throughout the musical seamlessly as Music Director Jon Kalbfleisch and his group of stellar musicians lend their musical support to the production. The music and lyrics have the clever and comic sophistication expected from Bock and Harnick and the sheer complexity reminded me to some degree of the intricacy of Stephen Sondheim.

Director Matthew Gardiner guides this production and cast with meticulous attention to detail, and it is obvious he understands that this charming and timeless story entails a sophisticated and highly polished directorial approach. Mr. Gardiner also utilizes directorial touches which illuminate Masteroff's book and the Bock and Harnick music/lyrics that lovingly mock, parody and spoof romantic notions only to upend them when romantic love conquers all and triumphs in the second act.

The spirit of the production is lively and seemingly spontaneous yet, concurrently, the pacing and stage movement is coordinated like synchronized clockwork--- from the pitch -perfect choreography by Kelly Crandall d'Amboise, to the unique use of small groupings of primary cast members singing in unison while musically complimenting a scene (almost akin to a quasi-operatic barbershop quartet) and the creative staging of the various musical numbers.

Mr. Gardiner keeps things sprightly by contrasting the decorum of old- world manners and decorum with the spontaneous abandon of lovestruck employees, the cacophony of an interrupted romantic dinner and the perturbed bustling of frenetic parfumerie customers.

Choreographic glories abound in Kelly Crandall d'Amboise's precise and vibrant choreography from the large ensemble numbers of "Good Morning, Good Day" wherein the staff of Maraczek's Parfumerie welcome customers and "Twelve Days to Christmas" which portrays the frenzied customers rushing to make their holiday deadlines. In these numbers and throughout the production, choreographer d'Amboise and Dance Captain Daniel Powers guide an ensemble of marvelous performers and dancers that propel the action of the plot at transitional times and in various production numbers.

The characters in this extremely clever Masteroff book could easily be stereotypical for we have the ingenue, the demanding boss, the enthusiastic delivery boy, the worldly-wise woman, and so forth in full interplay here -yet this cast is uniformly nuanced in their portrayals, and they elevate the material even further.

Ali Ewoldt as Amalia Balash, our lovesick pen pal writer is utterly winning in her command of the stage, and she never makes the mistake of playing the role in a conventional manner. Rather, Ms. Ewoldt has an air of quiet confidence that is disarmingly right for the character. Ms. Ewoldt broke the fourth wall with her ravishingly beautiful soprano voice in the questioning "Will He Like Me?" and her show-stopping performance of "Vanilla Ice Cream". Ms. Ewoldt is a petite powerhouse of a talent who was also slyly comedic in her various duets with other members of the cast.

Deven Kolluri's portrayal of Georg ---our other unknown pen pal-was more understated in the first act but blossomed into a very captivating shaggy-dog charm in the second act. Mr. Kolluri's transformation from caustic co-worker to a conquered heart was portrayed with skill and natural ease. (Kolluri reminded me of the great Jerry Orbach at times). Mr. Kolluri's delivery of the show's signature tune "She Loves Me" was a highlight which aptly showed the character's transformation.

Maria Rizzo's portrayal of the streetwise Ilona Ritter was wonderfully straightforward yet appropriately textured when singing the comedic duet "I Don't Know His Name" and the very amusing and bawdy "A Trip to the Library". Ms. Rizzo has comic chops to spare.

Jake Loewenthal's physical agility and comedic gifts shone in the hilarious "Ilona" and the super-charged tour de force athleticism of "Grand Knowing You". Mr. Loewenthal also possesses superb comic timing and delivery.

Lawrence Redmond as the demanding boss of the establishment, Mr. Maraczek, assayed a superbly moving rendition as he reminisced about "Days Gone By".

"Perspective" is needed to maintain one's employment and the performance of Bobby Smith as Ladislov Sipos, the dedicated family man of the shop, explicated the stress of submissive obeisance to one's employer.

Rounding out the cast is the energetically eager career-driven delivery boy, Arpad, played by Emmanuel Elliot Key. Mr. Key dances up a storm begging his employer to "Try Me".

A hilariously haughty turn by David Schlumpf as an overwrought headwaiter must also be mentioned.

Technical credits were top-notch. Scenic Design by Lee Savage was highly decorative but not unduly fussy, with stunning and appropriate touches for Budapest in the 1930's. Utilitarian logistics were considered with the beautifully lit pastel hues of the perfume bottles in the shop being subdued when a scene in a domestic environment was presented (complete with flower motif wallpaper). A complete café scene with appropriate 30's décor suddenly and unobtrusively appeared, eliciting gasps of delight from the audience. A European wall phone added a specific touch to the requisite look of the period.

Costume Design by Alejo Vietti was accurate and was replete with flowing material with 1930's Art Deco design for the dresses of the women. European fashion was accented with furs over the shoulders and hats that enhanced the look. Men were attired in the appropriate well-dressed look of coats, ties, and vests. Lawrence Redmond's Mr. Maraczek wore spats -such is the specific attention to detail.

Lighting Design by Adam Honoré was illuminating and alternately highlighted dramatic or comedic moods with apt colors and tones.

Signature's She Loves Me is a charming classic directed with sophisticated skill and a succession of showstoppers to savor.

Running Time: Two hours and thirty minutes with one fifteen-minute intermission

She Loves Me was presented on March 8, 2022 at 7:30pm at the Signature Theatre located at 4200 Campbell Avenue, Arlington, Va., 22206. Performances run from March 2 to April 24, 2022. For tickets, click here or call the Box office at: 703-820-9771.

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