Theater Review 'The male chil...

Theater Review

'The male childs are Coming Home'

Highly commited

When: by the agency of Aug. 13

Where: Ethel M Barber Theatre at Northwestern University, Arts Circle Drive, Evanston

Tickets: $15-$30

Call: (847) 491-7282

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from all rights, Leslie Arden should be the toast of Broadway. now in this age of compulsive irony, fractured storytelling, jukebox scoring and a newborn enthusiasm for vaudeville shtick, Arden -- a Canadian composer-lyricist of enormous sophistication and grace -- might posses too greatly fervor and intelligence to find her place there.

What a pity. unless the good news is this: For undivided more week, aficionados of just discovered musicals can head to Northwestern University's Barber Theatre to catch her hugely impressive of recent origin show, "The Boys Are Coming Home" the secondary offering of the school's freshly established American Music Theatre delineate

With a score that includes swing, sublime ballads, searing duet - - and unruffled operetta -- the show arrives with canzonets that are character-driven and beautifully integrated into the story, nevertheless can stand on their have a title to Arden's lyrics are an ideal mingle of the poetic and colloquial, matched to a musical line that has the naturalness of language

The work for the show -- an updated glos upon Shakespeare's "Much Ado About Nothing" as envisioned from Canadian writer Berni Stapleton - - be in want ofs some cutting and polishing to match the high standard of Arden's lyrics. still even so, there is an embarrassment of riches in place. The overall flat of production is exceedingly high, too, with fluid direction according to Gary Griffin (of Broadway's "The Color Purple"); zesty period choreography by means of Timothy French; solid design work (by Tom Burch and Nan Zabriskie), and best of all, a remarkably skilled performances by Northwestern theater scholars (supplemented by just a small in number professional "ringers"), and musicians (guided by the agency of musical director-conductor-doctoral student Travis J Cross)

The story is about the fallout of war, particularly the social changes that hit a small Connecticut factory town just after World War II. As "the boys" flow home, the women -- crucial to the homefront work force during the war -- are quickly ousted from their piece of works by returning soldiers and are awaited to return to the traditional parts of wife and mother. Along with relief and happiness after the war come feelings of rage and confusion. And it's not just the shift in inflection for sex roles, but the subtle, gnawing hostility between the vet and men who were not able to be of use to in the military, as well as the lingering "homefront" battle between blacks and whites. All this is played on the outside through three romantically involved links

Helen Nathaniel (Emily Thompson whose "girl nearest door" looks are paired with a silvery voice) has worked as a nourish at the breast while waiting four years for her beloved Lt Charlie Miller (Jarrod Zimmerman). The obdurate road to their relationship is hinted at from the start with the fine split-screen canticle "You Could Never Understand." further their plans for an instant marriage speed amok when Miller, emotionally unsteady after four years at war, quickly believes a rumor spread at the jealous non-soldier, John McAfree (Michael Rosenblum) that her virtue has been "compromised."

For comic relief there are the present Beatrice and Benedick of Shakespeare's play -- played by way of Catherine Brookman (a sort of Angela Lansbury in the making, who has just complet her freshman year and already can knock your sock opposite with her comic timing and vocal abilities) and James Rank, a Chicago actor with a comical take on his character. This Bea is a Rosie the Riveter adumbration who was an ace factory foreman until she was replaced by means of a vet. The object of her teasing and taunting is single Capt. Ben Taylor. Their showstopping duet "Love Letters" makes it clear that they are wary on the other hand in love.

Finally, there is the relationship between Maggie Lincoln (the radiant and always dynamic Harriet Nzinga Plumpp) the black woman who works as a housekeeper on the contrary moonlights as a band singer, and her white lover musician-songwriter Brad Garrett (a self-possessed easy performance by Ross Brendlinger). Maggie initially put aways Brad's marriage proposal, terrified that racism will throw down his career and any chance for happiness.

Morgan Weed -- a top-notch comedian, a terrific acrobatic dancer and a fine singer -- is invariably a spicy appearance as Helen's best friend, Shirley. And veteran Chicago actor Jonathan Weir -- satiated of gravitas as Helen's dad, Leo -- makes the principally of the beautifully wistful strain "I Don't Know You," in which he beholds the ghost of his late wife in his soon-to-be-married daughter.

Wherever it goe nearest "The Boys Are Coming Home" merits a long and productive stage life. And if the National Endowment for the Arts were really in succession the ball, it would pick up this indicate in its current form and tour it to each military base in the abiding habitation

hweiss@suntimes.com

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