Seattle Review: On the Twentieth Century

Rodgers and Hammerstein did not write every musical in existence. This may be hard to believe in a city where we are constantly subjected to great but overdone musicals like The Sound of Music (the film is better) or The King and I (what's the point without Yul?). While the occasional obscure title pops up from time to time, the traditional tends to be the big draw for many patrons. There are many magnificent musicals that have never been seen on a Seattle stage. This is where the gutsy Showtunes! Theatre Company comes into play.

Dedicated to producing three "forgotten musicals" in concert every year, Showtunes! is the Seattle equivalent to NYC's successful Encores series. Titles that would be risky to produce in full scale productions receive a concert reading that serves as a platform to introduce audiences to classics they may not know. A perfect score, some of the wittiest lyrics ever written, and a stunning cast were out in full force at last night's magnificent concert of On the Twentieth Century.

The hit of the 1978 Broadway season, On the Twentieth Century features music by the great Cy Coleman (Sweet Charity) with book and lyrics by the remarkable team of Betty Comden and Adolph Green (On the Town). Perhaps the most versatile musical theatre composer of all time, Coleman's operatic score is coupled with laugh-out-loud lyrics and a solid book. Set on a moving train in the 1930's, On the Twentieth Century reunites down-and-out theatrical impresario Oscar Jaffe with his muse turned Hollywood starlet Lily Garland. As Jaffe tries to woo Garland back to the stage (in an attempt to save his career) he is bombarded with a wealthy religious nut, Garland's egotistical new love toy, and a train full of passengers who repeatedly declare "I have written a play, Mr. Jaffe!".

The original Broadway production was quite a spectacle. Under the direction of Harold Prince, On the Twentieth Century is often remembered for Robin Wagner's monstrous set design that featured Imogene Coca strapped to the front of a mammoth train. By stripping down the show into a concert, Showtunes! allows every note and word of this remarkable score to be heard without overwhelming us with flashy design elements. Under the confident musical direction of David Close, this exquisite production often reaches musical theatre nirvana. Even with a reduced orchestra, Close is able to make Coleman's motion inspired melodies soar. Songs like "Sextet" and "I've Got it All" entertain while advancing the action.

Showtunes! has assembled a solid cast full of Seattle's best talent. Each performer offers a layered performance unique to the concert stage. They embrace the high melodrama without sacrificing their integrity.

In the monster role of Oscar Jaffe, Eric Jensen is nothing short of stunning. With a big voice and comedic chops to boot, Jensen fills Oscar with all the ego and vulnerability necessary. He is a wonder in the big Act II lament "The Legacy". Jensen gives a master class in how to act a comedic song truthfully. His Oscar takes us on an unpredictable ride that is a pleasure to witness. He easily gives one of the best musical theatre performances in recent memory.

Though she isn't always a natural vocal fit for Lily Garland, Anna Lauris gives a grand reading of one of the toughest leading lady roles out there. She easily makes the transition from dumpy Mildred Plotka to self-involved star. Though her interpretations of "Veronique" and "Never" don't hit all the right notes, she compensates with acute comic timing. Her vocals get better as the evening progresses with a precise reading of the tricky "Babette" that had the opening night audience glued to her every nuance. Jensen and Lauris fully commit themselves to the rocky relationship between Oscar and Lily. Their reading of the score's sweetest song "Our Private World" is simply gorgeous.

In the difficult role originated by Coca, Ellen McClain is a hoot and a half as Letitia Primrose. She wrings every comic moment from the hilarious "Repent". Each Comden and Green laugh is present ("There's a fiery pit for ladies and a fiery pit for gents") in a performance full of great detail and attention. John Patrick Lowrie and John X. Deveney are pure genius as Oscar's bumbling associates. They bring great comedic gusto to "Five Zeros" and "She's a Nut", holding their own with the flashier performances of the night. Ian Lindsey is a handsomely sung Bruce Granit, bringing great charm and absurdity to Lily's latest conquest. The confident chorus is a delight throughout, each leaving a memorable impression. Particularly great are Maggie Stenson as stage diva Imelda and Mo Brady as suave producer Max Jacobs.

Claudia Zahn provides brisk direction that is matched with Samuel Pettit's always appropriate musical staging. The duo never attempts to overload the evening with flashy concepts. They simply let the score and book shine. Choosing to place the focus on the score is a wise choice that proves On the Twentieth Century is as good as any of the shows traditionalists cling to.

With only 2 performances, this On the Twentieth Century will be missed. One can only hope that audiences grow as Showtunes! embarks on its 2nd full season of shows. As modern musical theatre begins to change shape, evenings like these become all the more crucial. Forgotten shows are often viewed as inferior because they are unknown. Showtunes! proves that obscure titles are just as valid (if not more) as the safe titles that get more attention. Their On the Twentieth Century is an absolute triumph full of everything needed to earn the rare distinction of being a "Must See".

For more information about Showtunes! Theatre Company, visit www.showtunestheatre.org. Their 2006-2007 season will feature It's a Bird...It's a Plane...It's Superman!, Dear World, and Barnum.

Pictured: Anna Lauris as Lily Garland, Ian Lindsay as Bruce Granit, and Eric Jenson as Oscar Jaffe

Photo by Auston James