#1
Posted: 12/14/08 at 6:30pm
Last evening (Saturday, December 13th), I had the pleasure of catching the Arthur Riordan and Bell Helicopter musical, Improbable Frequency, currently being housed at 59E59 Theatres. Having just returned home, I jotted down my thoughts, comments, and concerns:
As a bit of backstory, Improbable Frequency is a joyously surreal satire that, according to previously released press notes, "lifts the lid on Ireland's fragile neutrality during World War II and cuts to the heart of the tempestuous, can't-live-with-'em-can't-live-without-'em affair with its nearest neighbor, Britain.
While war rages across Europe, Dublin revels in its knife-edge neutrality as the fledgling Irish Free State tries to remain open for business. A hotbed of political and cultural bohemians, the city is host to a volatile mixture of exiled intellectuals, literary bar-lizards, British spies and Nazi sympathizers.
When coded messages, broadcast during an Irish radio-requests show, draw the attention of the British, a young code breaker called Tristram Faraday is sent across the Irish Sea to investigate. His enquiries lead him into a series of deeply improbable encounters, where the truth is more improbable than anyone could have imagined."
So, off I went, making my maiden voyage to 59E59 - A lovely facility, that I hope to frequent more often in the months and years to come - took my seat (B-2) and prepared myself for a rather ... unpredictable evening.
First and foremost, I just want to pass along my highest and warmest of regards for this slice of grand theatrical splendor. I was enthralled with the production; offering an incomparable zest and vigor unmatched and unseen. The book and lyrics amounted to some of, if not THE wittiest I've ever come across. I actually had to learn-in to catch the rhyme schemes as I was anticipating them. The score was also scrumptious of and in itself. I fell in love with the tunes even before Act I concluded.
The talents involved, a sextet of sumptuousness and resplendence that deserve the utmost praise for putting forth such delightful characterizations to the likes of Erwin Schrödinger, or the poet John Betjeman, amongst the factious lads and lasses making shop at the Red Bank, were splendid. Sarah-Jane Drummey, Peter Hanly, Darragh Kelly, Louis Lovett, Marty Rea and Cathy White, under the acute direction of Lynne Parker, bring melody, mischief, and mayhem for all to revel-in, amounting to two hours and fifteen minutes of a perfect marriage of music and verse. A delightful outing for any history-musical theatre buff.
At intermission, I made my way to the lobby and purchased a copy of the script/libretto. From what I gather, no cast recording has been made available (yet). I only bring it up because I was so taken by the melodies and the voices carrying them. It deserves to be heard, in my humble opinion, by any and all willing enough and smart enough to take it in.
Thank you to Rough-Magic for creating such a remarkable work, and even greater feat of creating a frigate for smart slapstick humor, genius wordplay, and a shining score, and thank you to 59E59 Theatres for giving this one a home for this all-too-blustery holiday season. I cannot say enough about this piece, and I do apologize if I am rambling. I just wanted to get the good word out there, and let me thoughts be known.
Best,
- Mike
As a bit of backstory, Improbable Frequency is a joyously surreal satire that, according to previously released press notes, "lifts the lid on Ireland's fragile neutrality during World War II and cuts to the heart of the tempestuous, can't-live-with-'em-can't-live-without-'em affair with its nearest neighbor, Britain.
While war rages across Europe, Dublin revels in its knife-edge neutrality as the fledgling Irish Free State tries to remain open for business. A hotbed of political and cultural bohemians, the city is host to a volatile mixture of exiled intellectuals, literary bar-lizards, British spies and Nazi sympathizers.
When coded messages, broadcast during an Irish radio-requests show, draw the attention of the British, a young code breaker called Tristram Faraday is sent across the Irish Sea to investigate. His enquiries lead him into a series of deeply improbable encounters, where the truth is more improbable than anyone could have imagined."
So, off I went, making my maiden voyage to 59E59 - A lovely facility, that I hope to frequent more often in the months and years to come - took my seat (B-2) and prepared myself for a rather ... unpredictable evening.
First and foremost, I just want to pass along my highest and warmest of regards for this slice of grand theatrical splendor. I was enthralled with the production; offering an incomparable zest and vigor unmatched and unseen. The book and lyrics amounted to some of, if not THE wittiest I've ever come across. I actually had to learn-in to catch the rhyme schemes as I was anticipating them. The score was also scrumptious of and in itself. I fell in love with the tunes even before Act I concluded.
The talents involved, a sextet of sumptuousness and resplendence that deserve the utmost praise for putting forth such delightful characterizations to the likes of Erwin Schrödinger, or the poet John Betjeman, amongst the factious lads and lasses making shop at the Red Bank, were splendid. Sarah-Jane Drummey, Peter Hanly, Darragh Kelly, Louis Lovett, Marty Rea and Cathy White, under the acute direction of Lynne Parker, bring melody, mischief, and mayhem for all to revel-in, amounting to two hours and fifteen minutes of a perfect marriage of music and verse. A delightful outing for any history-musical theatre buff.
At intermission, I made my way to the lobby and purchased a copy of the script/libretto. From what I gather, no cast recording has been made available (yet). I only bring it up because I was so taken by the melodies and the voices carrying them. It deserves to be heard, in my humble opinion, by any and all willing enough and smart enough to take it in.
Thank you to Rough-Magic for creating such a remarkable work, and even greater feat of creating a frigate for smart slapstick humor, genius wordplay, and a shining score, and thank you to 59E59 Theatres for giving this one a home for this all-too-blustery holiday season. I cannot say enough about this piece, and I do apologize if I am rambling. I just wanted to get the good word out there, and let me thoughts be known.
Best,
- Mike
Updated On: 12/14/08 at 06:30 PM
