Playwright: book by Richard Nelson, lyrics by Tim Rice, music by Benny Andersson and Björn Ulvaeus. At: Theo Ubique at the No Exit Café, 6970 N. Glenwood. Phone: 773-347-1109; $25-$30. Runs through: April 25
What could be more romantic than lovers thwarted by intractable overlords? And what more stern and unyielding steward than the Soviet Union of 1984, its supporters comprising the villains of countless novels, plays, films and poems predating that empire's eventual collapse barely a decade later? Finally, tensions between East and West being a conflict of veiled threats instead of bloody battles, what could be more appropriate than for the heroes of this "cold war" musical to duel, not with swords and guns, but within the laconic confines of the exercise for centuries employed as training for command of armies?
Freddie, the U.S. contender, is brash, egotistical and materialistic, his arrogant behavior no less repellent following the revelation of its source. Anatoly, his Russian opponent, by contrast, is a mature, sensitive, studious family man, whose clan's comfortable life under their despotic government is directly reliant upon his service to the USSR. Lurking in the background of these two champions are puppet-mastersrespectively, a Hollywood-style agent and a Kremlin-style minder. In the middle of it all is Florence, Freddie's Hungarian-born sparring coach, under whose influence Anatoly defects, little realizing the lengths to which his countrymen will go in their efforts to bring him home.
Such comic-book characterizations may seem quaint in 2010, but while Richard Nelson's textone of many rewrites since the show's premieredisplays the intelligence expected of an author renowned for political drama, there's nothing blameworthy in audiences being more receptive to the high-octane score of emotionally undiluted music. Any hint of didacticism soon gives way to poignant ballads, blood-stirring anthems, humble lullabies, stichomythic duets and bursts of baroque harmony, all rolling forth in Tim Rice's brainy long-line lyrics, with ABBA composers Benny Andersson and Björn Ulvaeus' infectiously trochaic beat keeping everything jogging along merrily.
Fred Anzevino and Brenda Didier's direction/choreography render the stage a constantly shifting picture of angular precision belying the play's cerebral universe ( even the musicians occasionally leave their corner to share the spotlight ) . Theo Ubique regulars Jeremy Trager and Maggie Portman, playing the innocent pawns in an international game, continue to grow with every new appearance, as do baddies Courtney Crouse and John B. Leen. The real star of the show, however, is the tiny No Exit space, offering fully realized productions as intimate and exquisite as Fabergé eggs.