Playwright: Rodgers & Hammerstein. At: Theo Ubique Cabaret Theatre at No Exit Café, 6970 N. Glenwood. Tickets: 773-347-1109; www.theoubique.org; $25-$30. Runs through: April 30
For those of us raised on the songs of Rodgers and Hammerstein when they were new, and for musical theatre aficionados generally, any well-done compilation of their songs will be a joyful experience, and this new Theo Ubique revue without question is well-done. Its limitations are the confines of a two-hour show: even presenting three dozen songs, it can only crack the surface of the R&H songbook. The lyrics of Oscar Hammerstein are deceptively simple and moving, and effortlessly incorporate U.S. idiom and slang. The tunes of Richard Rodgers are passionate, beautiful and rhythmic. Frequently, they also are glorious and profound in a Mozartian sense. As Rodgers famously said, "I can piss a melody."
Director Fred Anzevino and musical director/pianist Austin Cook make this show a no-concept revue of pure song. There are no spoken words, no narrative of the Rodgers and Hammerstein careers, no analysis of their advances in musical theater construction. It's just five people (plus Cook) making lots of music. The songs mostly are very familiar, but a few unexpected interpretations or juxtapositions make things fresh. How about "How Do You Solve a Problem Like Maria" from The Sound of Music presented as a love song? It works! How about a comic combination of "Don't Marry Me" from Flower Drum Song and "When the Children Are Asleep" from Carousel? It's delightful. The selections emphasize how masterful Rodgers was with three-quarter time in everything from a jazz waltz ("The Gentleman is a Dope") to arguably his most beautiful melody, "Out of My Dreams," and how he incorporated the blues and even a stride bass line into his work.
The songs sometimes are loosely grouped by themes or ideas, but Anzevino and Cook tread lightly on making connections. Certain types of R&H songs are missing completely such as big anthems ("Climb Every Mountain" or "When You Walk Through a Storm") and political songs ("Carefully Taught," "Shall I Tell You What I Think of You?"), thereby leaving plenty of repertory for a second revue.
The five performers look sharp and mostly sing better, although sweet-voiced tenor Evan Tyrone Martin is under-utilized. The others--Sara Schoch, Danni Smith, Jeremy Trager and Dana Tretta--each have a showcase number or two, and they blend well in medleys and ensemble numbers. Cook dazzles on an entr'acte piano solo and should have another one somewhere in the show. All are easy on the eyes, dressed well for the occasion by costumer Michael Murtaugh. Adam Vaness's scenic design seems massive for the intimate space, dominated by a marbleized, white platform with an odd doorway, looking like a fancy hotel bathroom with a baby grand piano.
Go for the music, stay for the music. You'll be glad you did.