<Back

Theatre slummin' it

The Musical of Musicals: The Musical brings back silly song and dance

Flouting Grinnell's ban on theatre productions that include any one of the following-comprehensible plots, flat characters, and, well, lyrics-Robert's Theatre's dignity will be compromised by a triple performance whose title offends in triplicate and whose lead actor Derrick Mitchell '06, revels in making faces at the audience and cast.

The Musical of Musicals: The Musical, an off off Broadway production by Eric Rockwell and Joanne Bogart, parades its pedantic plot, celebrates its stereotypical singers and mocks musical mayhem. The Encore Players, which includes Mitchell, Jennie Mescon ?04, and director Randy West, bring their antics to from Fairfield, Iowa to Grinnell on their very first tour stop today and tomorrow. Mitchell, anxious to have seniors attend to the performance, said, "You'll still have enough time to go to 100 Days after."

They act out a simple plot. Mescon (June) can't pay her rent. The landlord says she must pay the rent. Mitchell (Willy) says he'll pay the rent! The plot is acted out five times in five scenes, by the four lead characters, each scene spoofing a different musical genre.

Mitchell kicks it off Scene One in cowboy duds singing "Oh What Beautiful Corn." They act out the simple plot, whose real-life problem contains more than just the "kernel of truth" he sings of. Mitchell, with a triumphant, gleeful face, leaves the stage. After 20 short minutes, Grinnell musicals begin their comeback, not to slam the valiant efforts of Grinnell Independent Musical Productions like Zombie Prom and HAIR. The scene is a tickling spoof of Rodger and Hammerstein complete with the setting of Oklahoma.

Molly Kafka '06, who saw the performance at its home in Fairfield, said, "Initially I was wondering if this was a stereotypical African American role, but then it was a parody of everything." And as long as the farce takes on everyone with equal comedic fervor, Grinnellians will have nothing to whine about. Soon the target of parody shifted from cornfield silliness to ghetto drama and the story begins again.

In Scene Two, melodrama in the style of Stephen Sondheim's Sweeney Todd with a little West Side Story is spoofed for its "irony, ambition, dissonance, angst," as the narrating voice declairs dramatically. Mitchell's stormy face and furrowed brow replace his cheery smile. In this version, Mitchell said, "I'm supposed to be some kind of stupid pimp," as he fights the landlord, who contemplates murdering Mescon, singing, "hemlock is easy but too Socratezy." The song degenerates into silly rhymes, a far cry from the tragedy that usually befalls Grinnell productions. No Far Away depression allowed to kill the joy of fun costumes here.

In Scene Three, lingering gloom evaporates into the sparkling glamour of Jerry Herman's Hello Dolly. Mitchell morphs into a fast-stepping eight-year-old with a dignified profile that melts into a panicky little boy face as he sings the line, "the plot is not advancing" followed by the group song "Did I Put Out Enough?" in mockery of the over-the-top musical silliness and superficiality. Grinnellians who are still waiting to understand the sophisticated humor of Waiting for Godot, will finally have their chance to laugh.

Enter Mitchell's black beret and a puppy dog pout in Scene 4 and we're in Andrew Lloyd Webber's Phantom of the Opera and giggling at one of the best songs of the musical, "We Never Talk Anymore" as Mitchell and Mescon struggle to stop singing. They ask, "What's it all for? I can't understand what you're saying. We never talk anymore!" Their communication difficulties across musical and gender boundaries prove more entertaining than squabbles among Con Brio for the best songs. Their Phantom of the Opera renditions can give the Grinnell Singers' stuffy vocal performances a run for their money.

In traditional Grinnell fashion, the evening performance ends with a final scene featuring sex and debauchery, in this case dignified by the parody of Kander and Ebb's Chicago. "All That Jazz" accompanies Mitchell's transformation from gay prison inmate singing "Color Me Gay" to flirty female cabaret dancer performing on a chair while batting his and later, her, eyelashes furiously and flashing a demonic smile.

Seniors will appreciate this final sexy musical scene after years of hearing about the hugely successful 2001 production of Cabaret, directed by Pip Gordon, Theatre. That was, of course, before the musical crackdown that put the kibosh on all the non-abstruse, non-academic productions that were deemed too enjoyable for serious theatre. Though I'm sure even those who decided Grinnell is too good for musicals will blush when Mitchell winks at them and watch enviously as seniors trail after him to 100 Days.

-reviewed by Eva Constantaras

Sidebar: Concerts

Feb 25: Gardener; The Doomtree Collective, Kill the Vultures, Prime

March 10: Gardner; Tracy & the Plastics, Detholz

<Back