SHE LOVES ME through the years

I've been watching SLM since it first opened in 1963 with the dream cast led by Barbara Cook, Barbara Baxley, Daniel Massey and Jack Cassidy, beautifully directed by Harold Prince. Although mostly loved by the critics, the show did not catch on and only made it to 300 performances. I've seen it many times since then, and must confess to being bewildered by the raves for the current production, directed and staged within an inch of its life, as though it were afraid the audience might get restless unless it barreled along. This is what's known as a "charm" show, and it needs to do what it does at its own pace.

From the opening number, the tempo for every song was so fast that you could barely catch the lyrics, even though you knew them well. Of the principals, only Zachary Levi captured the romantic angst of his character perfectly, although Jane Krakowski managed "Trip to the Library" beautifully (after being sabotaged by the frantic "Ilona" and the breathless "I Resolve" in act one). The low point came in the final scene of act one, where Peter Bartlett, who can be funny in his own way, had been asked to mug shamelessly as the maitre d. Laura Bennati puzzled me; she was quite funny, almost too much so, in many of her scenes, (sorry, "Dear Friend" has one joke in it, but we need to empathize with her plight, not laugh at it), and her "Will He Like Me" did not move me at all. And Gavin Creel, whom I love and adore, was simply miscast. It all sounded great on (and in the) paper, but did not reach any real heights until it calmed down a bit in act two.

A few highlights over the years for other SLM productions: Brooks Ashmankas and Kate Baldwin were just about perfect in the leads at Barrington Stage some years ago; Boyd Gaines was a solid Georg in the last Broadway revival; an improbable production in Paris, totally in French, but capturing a great deal of the piece, but cutting Amalia's songs in half because the actress couldn't quite manage them.

Any other recollections or comments about this SLM or other productions?

I think those of us who have never seen it before though might have a slightly different take on it. We have nothing, visually, to compare it too. So we might have been appreciating our first chance to see it live.

I do have to admit I have listened to the Boyd Gaines version exhaustively and love it so much I feared I might compare voices a little too much, since that was the only place I really could make a comparison. The only place I found myself doing that to any great extent though was the role of Arpad. The kid was good, but I really like the distinctiveness of Brad Kane's voice.

I loved having the chance to finally see this show though, and it's one of the reasons I planned my trip to NY when I did. Being able to put faces, actions, and a play to the music I have come to love so much was awesome.

I agree with the maitre d' though. I felt like I should have been laughing more than I felt compelled to do. I could see that the actor who played him has something there…..but it felt a little too contrived. As you said, mugging a little too much. It was like the "acting" moved beyond the character himself, and more into 'Look what a funny actor I am.' But that was just my take on it.

I'll confess that I'd never seen the show until last night, but I'd been familiar with the score for years, and I only found the Cafe Imperial scene to be a little over-busy. Otherwise, the show certainly moves at a brisk pace, but nothing felt rushed or over-done to me. I even liked Bartlett- yes, he's mugging up a storm, but it's not as if the character doesn't call for it, and in his final conversation with Amalia I actually found him to be rather touching.

I can understand someone having fond memories of other productions, but this production was giddy perfection from my vantage point. And the last scene was played beautifully as well.

jayinchelsea, I actually agree with some of your criticisms. Benanti is a delightful performer but here just lacks the inner vulnerability that I think the role calls for. And yes, Gavin Creel is miscast--it's odd that his character almost gets lost with so much personality all around him.



Still, these are quibbles. I think Ellis has a wonderful touch with this piece, and overall I adore this production. I do not find it too fast or busy.



I didn't see the original Broadway production, but I've been to six or eight productions since. You know what? Possibly my favorite was the first one I saw, way back when, in the 1970s I guess. I was on the road and saw a sign for a community theater production (some little town in Minnesota, I think), and, bored and lonely, I hung around until showtime. Piano accompaniment, makeshift sets and costumes, little by way of choreography, and none of the singing was fantastic, but the show's huge charm, the actors' unpretentious love of performing, and the show's direct connection with the audience (full house!) made it an incredibly delightful evening. It was funny and surprisingly touching.

Yeah, I'm sorry I wasn't there for that. Big regret. For those who haven't discovered it yet, you can listen to it on YouTube. It's always so fun to experience these recordings made in front of an appreciative live audience.



http://youtu.be/fUak_fq8z4w



By the way, I want to sing the praises of Zachary Levi, whom I thought was just great. (I loved Boyd Gaines too.)

My introduction was at a concert performance at Town Hall. The leads were Barry Bostwick and Madelyn Kahn, with Rita Moreno as Ilona. Don't remember anyone else, but I loved every minute of it.



I then saw it at the old Roundabout, where the Criterion theatre used to be. Was in the first row and loved every second of it. The one - two punch of Ice Cream and She Loves me may have been the best 7 or 8 minutes of sheer bliss I have ever had in the theatre. Judy Kuhn was very good and Sally Mayes was absolutely perfect, but the real star of this show was Boyd Gaines, who sang terrifically (who knew?), and demonstrated more charisma than at any other point in his career, at least that I have seen. I still think his performance of Georg has set the benchmark (I don't see Zackary Levi until late May), and will be very hard to surpass in my eyes.



I saw it a few more times at the Brooks Atkinson, but Linda X was a pale substitute for Kuhn. That production is one of my favorite in 50 years of theatre going. I have been anxious for a revival for the past decade, so I am very excited to see it in May.



I have also sen the British version on PBS, probably 30 years ago, and also loved it, even though it was severely truncated. I think it was a case of making to, but I thought the two leads -- I think Robin Ellis and Gemma Craven -- were excellent.