From ShowMag.com -
05/10/07
No Strings
by: Melinda Schupmann
Following closely on
the heels of the greatly successful The Sound of Music in the late 50s, Richard
Rodgers came back in 1962 with No Strings without his longtime partner Oscar
Hammerstein II. Instead of finding a lyricist, he chose to write both music and
lyrics, and they were generally felt to be a mild success, though the show had
mixed reviews. The production starred Richard Kiley and Diahann Carroll and
concerned the relationship between a African-American fashion model, Barbara
Woodruff, and a writer, David Jordan, who had published a successful novel but
was drifting without purpose through the Paris social scene. This was a place
where social acceptance was granted much more readily to Woodruff, and they fell
in love.
In this production at UCLA's Freud Playhouse, Scott Bakula stars as Jordan and
Sophina Brown is Woodruff. Forty years or so have diminished the impact of their
inter-racial relationship, so it's seemingly tempting to place the emphasis less
on the love story but more on the supporting characters and visual impact.
Using fashion models on stage handling the scene and prop changes gives this
show some visual punch, but director Kay Cole over-exposes them to the point
that they detract from the central characters. Artistically placed here and
there, there seems to be no cohesive plan for their inclusion. With costumes by
Bob Mackie and Joe McFate, the high-fashion look certainly recalls the 60s.
Bakula and Brown are a pleasant pairing, though Bakula's easy delivery is less
of a match for her stronger voice than a more powerful singer might be. They
achieve some believability in their relationship, but it is the secondary
characters who carry the show away.
Ruth Williamson as Mollie Plummer, a fashion-magazine writer, swirls in dressed
in high fashion in the Rosalind Russell/Kay Thompson mode. Her wit and flair
perk up the opening scenes, and set the stage for the high fashion emphasis.
Williamson, as always, plays this character to the hilt.
Also, and certainly not least, are Jordan's friend, Mike Robinson (Matthew
Ashford) and his wealthy Oklahoma girlfriend, Comfort O'Connell (Bets Malone).
Malone is first-rate, full of energy and ready to rock and roll. Her costumes
sparkle, and when she is onstage, all attention is focused right on her. Whether
that is good or bad is moot, but she provides most of the life of the
production.
Bradley Kaye's scenic design with a grand Eiffel Tower and multi-level steps for
the models adds visual impact to the production, though it appears that the
steps may be hard to negotiate. Steven Young's lighting design is also notable,
as he employs a variety of color choices to enhance the musical numbers.
Rodgers' lyrics are both thoughtful and mellow. "The Sweetest Sounds" was an
immediate hit in 1962, but most of the other numbers are pleasant but
forgettable. "Eager Beaver" with Malone, Robinson, and the dancers comes off as
one of the better production numbers, and the final "No Strings" recalls some of
Rodgers' earlier work.
Act I contains most of the energy of the show. By Act II, when Barbara and David
are realizing that their love story has no hope, the show drags. The chemistry
between Bakula and Brown just isn't there, so the parting is more a shoulder
shrug than an emotional event.
One bright spot is musical direction by Gerald Sternbach. His work is always top
notch, and he gives the music the Broadway feel it deserves.
It seems churlish to criticize Reprise!, as it brings shows out of theatrical
history and gives them a home and an audience. Over time, these Reprise!
productions have gone from actors on book to fully fleshed productions, and that
is worth kudos. In this case, it's worthwhile reliving or reviving the show so
it can be examined in light of 2007. That it doesn't quite measure up doesn't
mean that the experience isn't worthwhile.
©2007 ShowMag.com
