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“Romance, Romance”
Posted by Gail M. Burns - August 2009
Ari Frenkel and Megan Rozak as Alfred and Josefine in "The Little Comedy" - the first half of "Romance, Romance."
Romance, Romance is not one show but two – two little bijou musicals about, what else, romance – performed by four actor/singers, two male and two female, with an intermission in between. Two mini musicals for the price of one. They fit just so into the Theater Barn as the second musical entry into their “Summer of Love.”
Romance is the thing that doesn’t last – the thrilling hormone induced high that leads to love and sex – two passions that can be enjoyed throughout adult life – but then packs its bags and leaves you high and dry. Like all grand pleasures, it is addictive and we constantly seek and crave it, but it pops up only when it feels in the mood, and, as the second of these two little shows presents, when you least want or need it.
But of course this is the best kind of romance, the kind you can live vicariously through other people and leave unscathed. You sit and watch and listen, and sigh nostalgically for whatever shreds of passion may have passed your way once upon a time, and then you go home to your spouse or your dog or your garden or whatever floats your boat and life moves on.
Romance, Romance had its genesis off-off-Broadwy, then moved to the Helen Hayes Theatre in 1988 for a successful year-long run on the Great White Way. It garnered five nominations from the Tony voters and one from the Drama Desk with Scott Bakula and Alison Fraser in the leads.
Both shows have book and lyrics by Barry Harman, who was visiting the Barn production the day I attended, and music by Keith Herrmann, but they are very different plays from very different sources.
The Little Comedy is based on George Edward Reynolds’ translation of Arthur Schnitzler’s 1895 novella Die kleine Komödie which Schnitzler subtitled “a love story in letters.” Harman and Herrmann have retained the epistolary style and the setting in late 19th century Vienna, to tell the story of Josefine Weninger (Megan Rozak) and Alfred Vom Wilmers (Ari Frenkel) two bored rich folk who decide to disguise their true identities to seek an amorous adventure. Daniel Moser and Chelsea Witiak play Him and Her, nameless characters who basically serve as narrators, stage-hands, set-dressing, and assay the occasional minor roles.
Summer Share is based on Max Gulack’s translation of Jules Renard’s 1898 play Pain de Ménage. (We are speaking French now so “pain” means bread, not physical discomfort. The title translates to Family Bread or Homemade Bread. I believe, with all the Julia Child renaissance currently afoot, that she featured a recipe for Pain de Ménage in one of her cookbooks.)
Here Harman and Herrmann have updated the story considerably to a summer share in the Hamptons in the late 20th century. Sam (Frenkel) and Barb (Witiak) have taken a beach house with Lenny (Moser) and Monica (Rozak). Although married to others, Sam and Monica have been close friends since college days, and, during one warm moonlit night they entertain thoughts of being together as a couple.
I liked the way costume designer Kate R. Mincer put Barb and Lennie in the drabbest of beige, while Sam and Monica sported festive summer colors – a perfect metaphor for how colorless a spouse can look next to some new (or old) flame.
Rozak has proven her singing and acting chops during her previous three seasons at the Barn, and she doesn’t disappoint here. She brings warmth and intelligence to her characters, sings with sass, and looks especially fetching in Josefine’s pink bustier. Frenkel is fine leading man material, with quirky good looks, and a strength and style that match Rozak well.
I wish Witiak and Moser had been given more to do. They do what is required of them well and don’t upstage the leads. I realize that the show was originally staged with two leading players and two supporting, but wouldn’t it have been fun for director Igor Goldin to up four young “stars” and set them loose on this little romp?
It is a romp, a bit of fluff, a light soufflé, a shiny trinket that is more rhinestone than diamond but fetching nonetheless. I didn’t find either the music or the lyrics particularly memorable, and choreographer Jessica Roach’s pedestrian work did little to enhance them. It seemed to me Harman and Herrmann could have done more to emphasize and have fun with the very different locales and time periods of the two pieces. But it all floated by pleasantly and I even found myself shedding a few tears over lost romances of my own.
Abe Phelps has cleared the way with a mostly bare stage onto which set pieces glide from the wings. There is a slightly raised level towards the back of the stage and another big (but not quite so big as the one for Zanna Don’t) cut-out heart on the back of the stage. Allen Phelps lighting was pretty and appropriate, as were Mincer’s aforementioned costumes.
Victoria Casella served as musical director and keyboardist for the three piece band (Steven Engel on bass and Mary E. Rodriguez on drums) in the wings. They sounded fine and everyone was blissfully unmiked, which I always enjoy.
Romance, Romance won’t knock your socks off, but it is a fine excuse to relax in an air conditioned theatre for a few hours and muse on all the moonlit nights and fantasy flings of your own.
Romance, Romance runs through Sunday, August 23 at the fully air conditioned Theater Barn with performances on Thursdays and Fridays at 8 PM, Saturdays at 5 PM & 8:30 PM and Sunday matinees at 2 PM.
The show runs two hours with one intermission and is suitable for ages 10 and up. Tickets are affordably priced at $22.00 for all evening performances, and $20.00 for the Sunday matinee. For information and reservations, which are strongly suggested, please call (518) 794-8989.
Copyright Gail M. Burns 2009