SIX WOMEN WITH BRAIN DEATH at NYMF

[Michael Bennett]

Posted: 9/29/05 at 11:11pm

Just back from seeing SIX WOMEN WITH BRAIN DEATH, one of this years NYMF shows, playing at the 45th Street Theatre. Some thoughts:
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In the late 80s, when I was still a teenager in Texas, I saw several times, one of the funniest musicals I have ever seen in my life -- SIX WOMEN WITH BRAIN DEATH. The Dallas production boasted an amazing ensemble, including Peggy Pharr Wilson, one of the original authors and was a huge hit, playing something like 2 years, which was unheard of for a production in Dallas at that time.

The show was then, as is now, a series of musical sketches on American pop culture, tied loosely together by the themes of the outrageous headlines in Rags like the National Enquirer and People Magazine.

In the late 80s, when the show was written -- American pop culture centered around such absurdities as Jim and Tammy Faye, Jazzercise, UFO abductions and Michael Jackson (okay some things never change), which is to say the show seemed VERY of its time.

SIX WOMEN has had many productions regionally since the first production I saw, and so I was surprised to find it in NYC as part of the New York Musical Theatre Festival of developing works.

Is the show worth reviving? Does it still work? Well, yes and no. The production playing right now at 45th Street has been updated (slightly) to include references to W. Bush, and Paris Hilton, but remains more or less what was seen in the 80s. One sketch that was sorely missed -- "The Divas of Mowtown" was apparently replaced by a very stupid skit call "Rambi."


A lot of the material is still funny but I'm sad to say that this bare-bones production is pretty underwhelming.

MAJOR pacing problems. And that includes tempos that are way slow and a cast that mostly misses the beats. Responsibility for this must be blamed on Director/Choreographer Marcia Milgram Dodge who pretty much has no comedic instincts or choreography skills behind hand waving.

Which is a shame, because that deals a major blow to the game cast, including another original cowriter Valerie Fagen, who scene after scene are missing the major laughs.

So why is this production still worth seeing? THE SCORE. An amazing, tuneful, vibrant score by the late Mark Houston, which ranges from rock to country to gospel. If the basic concept of the show is dated, Mr. Houston's work is not -- its as fun musically as any musical revue you are likely to find.

Since Mr. Houston died in 1995, it wouldn't seem that SIX WOMEN can't really be much further "developed" as per the motto of the NYMF, but it was a treat to hear his work again.

Hopefully if the show is further workshopped, it will find a more experienced and inspired creative team to helm it. I would also strongly encourage the creative team to go back and examine some of the sketches used in the original production. Many are funnier than what is in the current script.



Updated On: 9/29/05 at 11:11 PM

[SueleenGay]

Posted: 9/30/05 at 11:22am

The Rambi skit is not new. I saw it at least 10 years ago. It wasn't funny then. How did the audience like the show?

[Michael Bennett]

Posted: 9/30/05 at 12:10pm

Well, it's hard to say. So many of the jokes just didn't land. The director was apparently more interested in casting women with great voices rather then women who are FUNNY.

The skit involving the woman talking to the soap opera, for example, ("David don't go to Shri Lanka")usually a highlight, was almost painful because Joy Franz and Cheryl Alexander were two beats behind the comedy.

I actually think there is a market for this show Off Broadway. Even a bit dated, its still better material then something like MENOPAUSE THE MUSICAL, and thats run forever.

But it really needs a cast filled with the Jennifer Simard, Leslie Kritzer and Christine Pedi's of the world to work.

Audience I think enjoyed it, but they didn't laugh out loud that much.

[joniray]

Posted: 9/30/05 at 12:25pm

This is the first time I saw the show and I'm really glad I did. I loved the quirkiness of both the book and the score (the quirkiness of the score sort of reminded me of Falsettoland - not melodically but in the sort of abrupt randomness of it). That said, I could feel a lot of beats being missed, especially by Joy Franz and whoever played the Rambi mother (sorry, don't have the program with me) neither of whom seemed to "get" the material. I could tell that there were a lot of moments that *should* be hysterical and weren't. And there were some scenes (like the, I guess it was like a slumber party scene, the one that led into the Ken and Barbie number) where the whole cast seemed slightly uncomfortable or unsure with the material and how to perform it. Would love to see this piece with a different director and a slightly revamped cast (although they had a great blend when singing together). Overall though, it was a pleasant and off-center surprise.

[Michael Bennett]

Posted: 9/30/05 at 12:28pm

To me the only person who really "got" the material was Valerie Fagen who was one of the original authors. But even she was rushing through her laughs.

But at least she was in the spirit of the show. The Asian girl (again with a great voice) seemed to be doing WORKING or something. She was like as intense and funny as a David Pinter play.

[joniray]

Posted: 9/30/05 at 12:35pm

Well, I liked Pearl Sun (the Asian girl), but I have never seen the material done before and I admit to being biased since I've worked with her in the past and find her immensely talented.

[Michael Bennett]

Posted: 9/30/05 at 12:37pm

She's talented alright. She just needs to learn how to smile :)

[joniray]

Posted: 9/30/05 at 12:51pm

Well, she is certainly capable of smiling - what part should she have been smiling more in? It didn't seem like a very smiley show to me. Is it supposed to be? (In which case it may be a directorial issue.)

[Michael Bennett]

Posted: 9/30/05 at 12:56pm

Yeah, its supposed to be pretty smiley...The director took most of it too seriously. It's supposed to be camp not commentary, if that makes any sense.

The "God is an Alien" number for example is supposed to be evangelical in the most joyous sense, ie "I've found God and isn't that great." Sun seemed pretty intense about it.

But then, I thought most of the moments in the show that were supposed to be tounge-in-cheek ironic were played too dark.

Usually, even the "I Read too Much" number is funny.

[SueleenGay]

Posted: 9/30/05 at 1:49pm

Since the composer has passed away but there are so many co-authors would this show work as a living/evolving thing like FORBIDDEN BROADWAY? Changing it every so often and updating it? Using different composers? I don't know...

[joniray]

Posted: 9/30/05 at 3:39pm

I had the same thought last night. There are so many script contributors - why not have different composers/lyricists as well that could keep the show fresh and up-to-date with new material?