Playwright: David Troy Francis and Gavin Geoffrey Dillard
At: Chicago Center for the Performing Arts
Phone: ( 312 ) 733-6000; $35-$45
Runs through: Feb. 8
If Cats is a feline view of the world through the filter of composer Andrew Lloyd Webber, then Bark! is a canine view through the filter of composer David Troy Francis. Sir Andrew had T. S. Eliot as his lyricist while Francis mostly has Gavin Geoffrey Dillard plus four other contributing wordsmiths. Dillard and colleagues are better songwriters than Eliot, but they lack his—ahem—pedigree. Also, the pussies of Cats are wild and free while the pooches of Bark! are prisoners of the local pound.
Whatever the similarities and differences, it's fragile business when adults pretend to be animals or children. Cats had all the bells, whistles and bravura of a big Broadway production. Bark! has none of that. An intimate musical revue, its unadorned dogs must rely on the talent and charm of three men and three women to bring the songs to life, and keep the entire concept from being too, too cutesy and coy.
The Chicago production of this Los Angeles hit, now five months into its run, succeeds by halves. It's best in the second half where the songs themselves are strongest, with Act II featuring the clever 'M-U-T-T Rap,' the big ballad, 'A Grassy Field' that hints at the fate of pound dogs who aren't adopted, and the lively song-and-dance 'Dirty Filthy Old Flea Bag,' all three featuring the male cast members. The women and Act I DO have their moments, of course, notable among them being 'Il Cane Dell'Opera' ( The Opera Dog ) , a real mezzo-soprano stretch for Cory Goodrich playing the Standard French Poodle. The songs, in a variety of musical styles and with strong lyrics, generally are better than they need to be for the concept; still, Act I feels long and doesn't immediately charm.
Part of the reason is that, after five months, the company isn't fresh and too often seems only to be going through the motions. At the holiday week performance I saw, one performer consistently flatted as if he hadn't warmed up, and comedy was played in a 'now I'm being cute' fashion, rather than for its actual value. Everyone was competent but no one looked or sounded inspired.
The scenic and costume elements do little to help, both of them being distinctly less colorful and charming than in the original LA production. The producers can, and should, improve the spectacle elements. On the other hand, conductor Jeremy M. Raney and his unseen three-piece band always are on top of the tunes, and the six cast voices blend beautifully.
With solid material and showcase opportunities for performers, Bark! has the potential to be a best-of-breed musical revue. Several new cast members begin performances Jan. 13. Perhaps they will freshen it up.
