#1
Posted: 10/13/04 at 3:58pm
Philadelphia is currently playing host to the world premiere of a new musical based on Albert Innaurato's play "Gemini" produced by the Prince Music Theatre. Innaurato has provided the book and is credited for lyrics along with composer/lyricist Charles Gilbert. "Gemini" played for four years on Broadway and a musical based on this material doesn't seem like a bad idea on paper especially when the playwright is involved in it's creation. Unfortunately, after attending last night's preview performance (it opens this Saturday), I'm sorry to report that the result is less than felicitous.
There are a few good elements about the show beginning with Linda Hart (of Hairspray fame) giving a riotous performance as Bunny. She is given the lions share of good material here and wrings every laugh to be had out of it. The set by Tobin Oth captures the South Philly locale, costumes are 70's period-perfect. Most of Innaurato's one-liners still land and were appreciated by the hometown audience, and the author wisely doesn't overplay Francis' sexual identity crisis opting instead to concentrate on the more universal father-son relationship theme which saves the material from seeming too dated.
That being said, this is a classic example of a musical that actually doesn't need music. Or maybe it just needed a more gifted composer than Charles Gilbert. He has supplied a wearying score of generic up-tempo schlock that passes today as contemporary "musical-theatre", peppered with a few pastiche numbers. The songs go in one ear and out the other with nothing to distinguish themselves. The only numbers that actually register are two ballads - one given to Herschel about his love of trolleys and the other the very amusing and touching "Concrete" sung by Robert Picardo, the play's orginal Francis back as his father Fran. One other major liability is Anne De Salvo who again plays Lucille (as she did almost 30 years ago!) but who also plays Maria Callas and who also unfortunately cannot really sing. Her one solo number as Callas lands with a thud though she does well with her solo as Lucille (which I am guessing was a new addition as the song title offered in the program did not match up). To her credit, the classic "I'm not hungry - I'll just pick" scene is hysterical thanks to her perfect comedic timing. In general the songs added very little to the material and one could almost feel the collective groan in the audience when yet another song began. Not a good sign.
There are definitely fixable things about this show (the overture needs to go, the dance moments need better definition, they have already re-ordered numbers and are in the right direction) but the ultimate liability lies in saddling a very funny play with pedistrian, unimaginiative music. If the show were to move on, one relishes the thought of Patti LuPone taking on the Lucille/Callas role - she would have a field day with it (and she can sing!). I predict however the show will end it's life mercifully here in Philly, another victim in the long list of plays that never should have been musicalized. "Gemini" is just one of those plays that doesn't need music - and one wishes that this talented cast were involved in a 30th anniversary revival of the play instead.
There are a few good elements about the show beginning with Linda Hart (of Hairspray fame) giving a riotous performance as Bunny. She is given the lions share of good material here and wrings every laugh to be had out of it. The set by Tobin Oth captures the South Philly locale, costumes are 70's period-perfect. Most of Innaurato's one-liners still land and were appreciated by the hometown audience, and the author wisely doesn't overplay Francis' sexual identity crisis opting instead to concentrate on the more universal father-son relationship theme which saves the material from seeming too dated.
That being said, this is a classic example of a musical that actually doesn't need music. Or maybe it just needed a more gifted composer than Charles Gilbert. He has supplied a wearying score of generic up-tempo schlock that passes today as contemporary "musical-theatre", peppered with a few pastiche numbers. The songs go in one ear and out the other with nothing to distinguish themselves. The only numbers that actually register are two ballads - one given to Herschel about his love of trolleys and the other the very amusing and touching "Concrete" sung by Robert Picardo, the play's orginal Francis back as his father Fran. One other major liability is Anne De Salvo who again plays Lucille (as she did almost 30 years ago!) but who also plays Maria Callas and who also unfortunately cannot really sing. Her one solo number as Callas lands with a thud though she does well with her solo as Lucille (which I am guessing was a new addition as the song title offered in the program did not match up). To her credit, the classic "I'm not hungry - I'll just pick" scene is hysterical thanks to her perfect comedic timing. In general the songs added very little to the material and one could almost feel the collective groan in the audience when yet another song began. Not a good sign.
There are definitely fixable things about this show (the overture needs to go, the dance moments need better definition, they have already re-ordered numbers and are in the right direction) but the ultimate liability lies in saddling a very funny play with pedistrian, unimaginiative music. If the show were to move on, one relishes the thought of Patti LuPone taking on the Lucille/Callas role - she would have a field day with it (and she can sing!). I predict however the show will end it's life mercifully here in Philly, another victim in the long list of plays that never should have been musicalized. "Gemini" is just one of those plays that doesn't need music - and one wishes that this talented cast were involved in a 30th anniversary revival of the play instead.
"When you're a gay man, you have to feel good about yourself when a urologist says, "Yeah. I pick you". - Happy Endings
