Once they’re here, babies are pretty much adorable and universally loved. It’s the getting them here that disrupts everything. Sometimes, it seems that those who want one can’t manage it, while those who either don’t want or don’t need another addition to the family are the folks who have no problem at all in having one. Or more.
This is the premise of the 1984 musical “BABY” by composer David Shire and lyricist Richard Maltby, Jr, with book by Sybille Pearson. They use three couples of varying ages to show the effect of getting pregnant—or not—on not only the people involved, but also their marriage. Or lack of one.
Kalliope Stage is a cleverly-redesigned store-front near the intersection of Lee and Cedar in Cleveland Heights. It’s a very intimate performing space that boasts of having ‘unplugged’ singers, while yet amplifying the accompanying instruments, an unnecessary extravagance. It is however, the perfect space for such a small, intimate sort of theater piece, allowing the audience to not only partake of the emotions displayed by the actors, but to hear the singers even when they whisper.
Given the outstanding vocal talents displayed in this production—it’s hard to imagine a more well-suited group of actors or a better collection of singers—the audience is presented with a nearly perfect production. Director Paul F. Gurgol chose his players well and keeps them moving briskly through the performance. The youngest couple—Lizzy and Danny, juniors at college—have all the youthful exuberance and energy imaginable for their roles. Carrie Hall and Andrew Smith are engaging as these young lovers. She wants it all; a career, baby, and Danny—but not the marriage he so ardently desires. They sing, they dance, they look the parts.
The 30-something Pam and Nick, a pair of ideally-suited jocks, are wonderfully portrayed by Kris Comer and Scott Posey. Their frustration as not being able to get pregnant is alternately funny and poignant. This segment of the story is the weakest as it displays its age. There are now abundant new discoveries in the infertility field, which could have provided a much different scenario. Yet the love of these two for each other will keep them together, and who knows--? They might yet succeed.
It is the older couple, however, who really light up the night. Adina Bloom as Arlene and John Jensen as Alan celebrate their 20th anniversary and the departure for college of their youngest child, with a ‘night on the town’. Faced with an unplanned pregnancy, they also must face hard facts. At 43 and 48, are they really ready to become ‘new’ parents all over again? Arlene envisioned a small apartment for just the two of them, but now—
All three couples face difficult choices which they share with us in believable dialog or in song. Among the vocal highlights were the three women in “I Want it All” and the men in “Fatherhood Blues” which included a cleverly choreographed routine with baseball bats. Danny sings “I Know I Chose Right” as Lizzie accepts his ring (promising fidelity) while repudiating the thought of marriage. He goes off to play with a traveling rock band for the summer, leaving her to experience the first fluttering movements of the baby all by herself, in the emotional “The Story Goes On”.
Pam and Nick were not given the outwardly emotional story of the other two couples, yet they managed to portray the love and patience—and humor—necessary to follow the instructions in hopes of conception. The observer never doubts their commitment to each other, especially in the moving ‘With You”.
Arlene and Alan were the most engaged of the couples. They’ve been there, done that. The thought of doing it again is terrifying. Her “Patterns” and his “Easier to Love” were vivid examples of the intensity involved in their lives. It was the next to last song, however, that saw members of the audience wiping away a tear or two. “And What If We Had Loved Like That” sung with great passion and tenderness by two experienced theatre professionals was an unforgettable experience.
In wonderful small vignettes (definitely not ‘small’ parts!) were Kimberly L. Koljat, Rita Klinger and John Paul Boukis. Musical Direction was by Brad Wyner. The multi-purpose set design was by Dave Glowacki, who also did lighting and sound. Younger members of the audience might think the costumes by Gordon Leary and the electronic props were great as they were. However, older folks would realize they were, in many cases, entirely too modern to have existed in 1983, when this play takes place. A minor quibble when compared with the wonderful singing actors on display in this BABY.
BABY runs through July 31. Reservations are almost essential. Kalliope Stage has announced its lineup for next season. Information is available at http://www.kalliopestage.com or (216) 321-0870.
From Cool Cleveland contributor Kelly Ferjutz ArtsWriterATadelphia.net (:divend:)