BWW Reviews: La-Ti-Do Brings a Love Letter to NYC to Capital Fringe with LOVE, NY

It is present day New York City. Nerdy Benji (Robert Mueller) is excited to start his new life in the city complete with a fancy job on Madison Avenue. He quickly meets other 20-somethings who are also living out the New York City 'fairytale' that's sometimes not so much a fairytale as a real-life struggle. Together they all cope with the day to day grind of living in New York - careers (in the theatre or not), hookups, budding romances, complicated friendships and the like. It's rough, but there's also nothing quite like living in New York City and pursuing your dream whatever that might be. This is Robert Rokicki and Michael Ruby's original musical, Love NY, now premiering in DC's Capital Fringe Festival under the auspices of La-Ti-Do (DC's first weekly musical theatre cabaret and spoken word series).

You may be saying that there's nothing quite new here. You'd probably be right. Many a contemporary and golden age musical has used life in NYC as fodder for musical comedies. This isn't to say that there's not something to like in this production, however.

A cast of DC and NY-based fresh-faced young performers bring the tale to life under the admirable direction of Jenny Lynn Towns. Though there are few props and virtually no set, the respectable lighting designs (Michael Miller) and sound design elements (Elliot Lanes) add ambience to the event. The focus in this premiere bare bones production is rightfully the story and the songs.

Like the story, Rokicki and Ruby's pop-based score is quite derivative and hardly a revelation. In some ways it reminds me of a much lesser version of something Joshua Salzman and Ryan Cunningham would write (and they incidentally have created similar shows with I Love You Because and Next Thing You Know - check them out). That being said, neither the lyrics nor the music are groan-worthy. The opening and closing numbers - "Hello, New York" and the title song, "Love, NY" - that feature the entire company are certainly catchy. The comedic "Freaking Out" is also worthy of a second listen. The talented band (musical director Zack Ford on piano, Brian Farrow on bass, and Andrew Kreiger on guitar) makes the pop-rock score even more pleasant to hear.

The cast also deserves credit for making the show work. It's clear all involved are passionate about the material and the enthusiasm even in the weakest moments - particularly in the middle where the writers introduce an eye-roll-worthy sibling-related sub-plot - is infectious. Whether it was opening night jitters or not, more than a few of the performers struggled more than a few times with pitch which is unfortunate in a show where the music plays such a huge part of the experience. Three actors, however, rose to the occasion and deserve specific mention.

Lou Steele - who recently relocated to DC from NYC - is the shining star in this production. As Benji's much more NYC-experienced friend Daniel who is experiencing his fair share of doubts about his career and romance paths, he nicely portrays the everyday young man who wants it all and will likely get there. His strong voice - nicely suited to the pop-rock music - is the best in the cast and he has a relatable and natural presence on stage. I hope DC casting directors take note and put him in many a show here.

The other stars are Robert Mueller as endearing NYC newbie and Robyn Swirling as Daniel's girlfriend Laura who is pursuing a career on the Great White Way (a complicating factor in their relationship).

Mueller is appropriately awkward and innocent as Benji makes his way in his new world. His unforced chemistry with romantic interest Hailey (well-acted by Caroline Mahoney, who unfortunately wasn't quite up to the singing task the night I saw the show - at least when her character wasn't required to belt) makes a 'been there, done that' story much more interesting to watch. Likewise, his strong pop tenor voice allows songs like "Nice Young Man" and "I Want to Go Back" to soar.

Although I found much of the girls' singing to be a bit underwhelming, Robyn Swirling was an exception. She was steely-eyed yet eager, and completely embodied a young triple threat that will stop at nothing for the chance at stardom. Her well-trained voice (particularly evident on "The Clock is Ticking") is also likely to take her far. I look forward to seeing her career progress.

Executive Producer Don Michael Mendoza, together with assistant producer Regie Cabico (the masterminds behind La-Ti-Do) deserve credit for taking on the new challenge of putting on a musical, particularly one as large as this in the intense Fringe setting. This show may not be one for the history books, but it's one of the more pleasant and polished things one is likely to find in the festival.

Running Time: Approximately 80 to 90 minutes with no intermission.

Love, NY has four more performances in the Capital Fringe Festival. For further show information and to purchase tickets, visit the Capital Fringe Festival website.

Show Graphic: Courtesy of Fringe Artists.

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