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Theater: Bitter Sweet
2007-08-22

This article shared 2972 times since Wed Aug 22, 2007
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Playwright: Noel Coward

( book, music, lyrics )

At: Light Opera Works,

Cahn Auditorium, Evanston

Phone: 847-869-6300; $28-$80

Runs through: Aug. 26

By Jonathan Abarbanel

When Noel Coward wrote Bitter Sweet in 1929, he'd had 15 works staged in London, although he was not quite 30 years old. Bitter Sweet was his first book musical and one of the few he wrote. Despite his purposeful efforts to shock audiences with frank—for the day—discussions of society and sex ( although never his gay sexuality ) , Coward really was conservative in art and politics. Bitter Sweet is an example, an intentional throw-back to the drying era of operetta.

With a time-shifting story spanning 1875-1929, Bitter Sweet parades Coward's cleverness at writing both period and contemporary music in a pastiche of Charleston tunes, Viennese operetta melodies, mock-French cabaret songs, ballads and music hall. The highlights are three of Coward's best and best-known tunes: I'll See You Again, If Love Were All and Ziguener, with its characteristic arch Coward melody. The dialogue and lyrics sport a few acerbic and witty lines, but mostly Bitter Sweet is recycled, standard-issue romantic stuff. Even killing off the hero in Act II ( of three acts ) isn't new, although it is unusual for operetta. Were it anyone but Coward, a contemporary producer would revise the book. Even Coward padded his simple story with excessive dialogue plus chorus numbers and specialty tunes, such as Ladies of the Town for a quartet of Viennese chippies and We All Wear a Green Carnation, a male quartet satirizing followers of Oscar Wilde ( and today embraced as a gay song ) .

As always, Light Opera Works' musical values shine under musical director Roger L. Bingaman. As the heroine, Sarah, Alicia Berneche sings and acts with aplomb and makes the transition from young woman to old with grace. Established leading man Brian Herriott easily sails through the hero's role, although the acting demands are minimal. Jessye Wright, as cabaret singer Manon, brings charm and drama to her musical interpretations. J. R. Jones cuts a fine figure and sports a big voice as the stock villain, while Bill Chamberlain provides disarming warmth as Lord Shayne. Many members of the huge cast—30 players covering 36 named roles—have a few lines to speak or sing, but none of them matter in this oddly bloated if musically pleasing show.

Director James Harms and scenic designer Kurt Sharp have placed the wonderful full orchestra onstage, pushing the cast towards the audience on a forestage built over the orchestra pit. Hey, Harms and choreographer Rudy Hogenmiller need someplace to put the huge cast. The orchestra effectively becomes part of the drama, although the strings become faint. Jeff Hendry's costumes are the most lavish element, with men's formal wear suitably distinguished by period and colorful women's outfits showcasing bustles, T-strap shoes and effective use of pattern and layers. Sarah's pale green Act II gown and Act III black-and-white outfit are sensational.


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