Sweet “Here’s Love” at Toby’s Columbia

With the opening this week of It’s a Wonderful Life at her Baltimore location and now with Here’s Love: The Miracle on 34^th Street Musical at her Columbia location, Toby has created the perfect holiday double feature – family-friendly and guaranteed to get you into the holiday spirit. Both shows have much in common: both are based on beloved film classics, both have been musicalized, and both have terrific casts, including some very talented, genuine child actors. In the case of Here’s Love, the Toby’s crew have created a triumph of style over substance.

Written by the same genius (Meredith Willson) who brought us the timeless classic, The Music Man, Here’s Love is much less than its more famous brother, but, really, what can beat The Music Man? While the book contains all of the classic film story – a little girl doesn’t believe in Santa Claus until he is arrested at Macy’s and put on trial – some of the musical numbers sound suspiciously similar to those found in The Music Man (“She Hadda Go Back” is a dead ringer for “Ya Got Trouble”), while others feel shoe-horned in, like Willson HAD to include a song (the blatantly pointless “My State, My Kansas”, for example). The good news is that even second-rate Meredith Willson is at least enjoyable. And despite the creaky book and derivitive music, this charming little jewel, directed by Shawn Kettering, choreographed by Amanda Tschirgi and designed by Drew Dedrick (sets), Lynn Joslin (lights), and Georgette Feldman (costumes), is a must-see treat, especially for families with children (and a few Scrooges) who doubt that Santa Claus is real.

Mr. Kettering has directed a smoothly paced, light-hearted evening that has the vigor of a modern musical and the quaint easiness of old school shows. He and Ms. Tschirgi get things off to a dazzling start as they recreate an old-fashioned Macy’s Thanksgiving Day Parade, the kind that happened in the days before the giant, corporate sponsored balloons and poorly lip-synched renditions of pop tunes. In what must be a backstage logistical nightmare, the mid-sized cast creates a rather lengthy parade, rotating in and out as spectators, a marching band, clowns, Mother Goose and family, Noah’s ark and animals, and even a human Christmas tree. Not only do they change costumes quickly, but there is never a pause, and the choreography remains sharp. Naturally, Santa himself ends the parade. In act two, Kettering is saddled with a lengthy courtroom scene, and an almost unnoticeable ending. Undeterred, he and his choreographer have created an interesting scene, with natural reasons for movement and even some creative dancing! Well done! Scenically, it always amazes me how they find room for all of the set pieces, and Here’s Love is no exception. Mr. Dedrick has decorated the interior of the theatre with city lights and Macy’s signs (we are in New York, after all) and also with quaint Christmas tableaus that would make Currier and Ives proud. Color and light, designed by Ms. Joslin create a warm holiday mood, and Ms. Feldman’s costumes are equally colorful and creative, and nicely of the time in which the play takes place. (Contrary to the program, which says the time is the present, the whole show has the feel of the 40’s/50’s, a time when no one would blink an eye at an 8-year old girl taking up with a complete stranger, a male, no less.)

Of course, any show can be directed well and designed nicely, but with out the right cast, things could be horribly wrong. Happily, and not too surprisingly, the cast here is really very good, particularly in the leading and major supporting roles. Particular kudos go to Buddy Piccolino, as Kris Kringle, as convincing a Santa as you’ll ever see. He looks the part, and gives off a sincere heart-warming vibe, and still manages to create a real person without resorting to stereotypes – not a “ho, ho, ho” is uttered, not even once. He is particularly at ease dealing with the Children in the company – one wonders if he ever did time as an actual department store Santa! />Russell Sunday/>/>/> gives a funny, blustery performance as R.H. Macy, who eventually comes around to the “Here’s Love” method of holiday sales. He sings well, swaggers like a pro, and still gives of a warm teddy-bear feeling. Mr. Sunday is well-versed in this type of role having previously played Gaston in Beauty and the Beast and Fred in Kiss Me, Kate, and yet here, he plays a completely fresh variation on that theme. As the resistant-to-love-you-know-from-their-first-meeting-they’ll-fall-in-love couple, Debra Buonaccorsi and Jeffrey Shankle as Doris and Fred are dead on acting in that period style that this type of show demands. Both clearly believe in what they are doing, and infuse just enough modern backbone to their performances to offset any of the sickening sweetness their “aw, shucks” roles call for. Mr. Shankle of late seems to be making a career of this type of role, having recently pulled similar duty in Thoroughly Modern Millie and Kiss Me, Kate. But like his colleague, Mr. Sunday, Shankle adds nuance and variety making each role unique and interesting. Plus, his dashing good looks and powerful voice make him the ideal for such roles. Ms. Buonaccorsi, though, shows remarkable range in this role compared to her last outing as the scene-stealing second banana Bianca in Kiss Me, Kate. Seeing her here makes me appreciate even more her gifts as an actress.

The role of Susan, made famous by a very young />Natalie Wood/>/>/> in the 1947 film, is here taken by the absolutely adorable, and very believable Bailey Gabrish* (she alternates in the part with Maya Goldman). Miss Gabrish commands the stage with the demeanor of an old pro. She is sweet and precious to look at, but wisely keeps the audience’s desire to go, “Awww!” at bay with a particularly grounded, adult performance. Her learned cynicism at the belief in Santa Claus is smart and razor-sharp, and that makes her transition into a believer all the more real and satisfying. She sings just fine, blending nicely with her “mother” in “Arm in Arm”, and warms your heart as Susan and Kringle cavort around the Macy’s Toy Department in the act one closer, “Expect Things to Happen.”

In my review of It’s a Wonderful Life, I noted the high-quality of child actors Toby’s employs. The same can be said about Here’s Love. Including Miss Gabrish, there are five children in the cast (all child roles are double cast) all of whom are thoroughly professional, fully in character (and some play several different ones), but who never make faces or act inappropriately cutesy. At the performance I attended, the other kids were Jazzy Williams, Conner Walsh, Adam Cort and Aaron Jarvie. Excellent ensemble players have long been a tradition with Toby’s. Here, the ensemble sings and dances, makes dozens of costume and character changes, and they work together very nicely. Darren McDonnel is a humorous Macy’s employee with bad purchasing choices, Jerry Gietka is a terrific, warm-hearted judge, and Matt Johnson practically steals ever scene he’s in as Mr. Sawyer, the bad guy who sends Santa up the river. Even Mr. Kettering joins in as the attorney who must prove Santa a fraud. When his own son is called to testify for the defense, the look of defeat on his face is priceless.

Here’s Love should warm up the most cynical of Scrooges out there. Take the kids – what a valuable lesson about faith is given – and they will leave, just as sure as I am that there really is a Santa Claus!

* - When this article first appeared, I incorrectly named the young lady playing Susan the the performance I attended.  I saw Bailey Gabrish.  My apologies to her and to Miss Goldman, who I originally named.  I am certain both young ladies give equally fine performances.  Further, it is normally the policy of this reviewer not to critique the performance of specific child actors. However, in this case, with a roles this size, it seems most appropriate. Not reviewing the role of Susan would be like not reviewing the role of Annie!

PHOTOS: Main Page: Bailey Gabrish and Buddy Piccolino; TOP: Jeffrey Shankle and Bailey Gabrish; MIDDLE: Bailey Gabrish and Debra Buonaccorsi; BOTTOM: Bailey Gabrish and Buddy Piccolino.  All phots by Kristine Christiansen.

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