Playwright: Bro Herrod and Barry Manilow, after W. H. S. Smith
At: Quest Ensemble at Blue Theatre, 1609 W. Gregory
Phone: 312-458-0895; FREE
Runs through: March 25
By Jonathan Abarbanel
The Drunkard once was the most famous play in America, an 1840s melodrama about the dangers of drink that spurred the temperance movement. Initially a serious work, it became self-parody by the end of the 19th century. Countless revivals since have treated The Drunkard as a stereotype of stilted moralizing and overacted Victorian drama. A 1960s revival ran off-Broadway for six years, using a whittled down script, interpolated groaner jokes and songs composed by the unknown, twentysomething Barry Manilow. It's this version now onstage at Quest.
So, here's a melodrama that's a joke by itself, in a musical version that burlesques the conventions of melodrama. What more could Quest do with it? Well, they decided it should be done as a 17th-century Italian commedia dell'arte, with a dose of vaudeville thrown in. All the actors wear masks identified with their character types—hero, villain, old woman and sidekick—in a show filled with comic physical business and vaudeville-style specialty songs and dances. It's two overlays on top of an overlay and a decidedly mixed marriage of theatrical styles. I didn't like it at first.
Directed by Andrew Park, The Drunkard receives a clever although overblown physical production in which scenic designers Buck Blue and Nick Ruppard have constructed a miniature 19th-century theater within the large church hall Quest calls home. There's a small proscenium stage with footlights, wonderful cardboard cut-out wing-and-drop sets and an actual oleo curtain ( roll-up ) in true 19th-century style. Playing into the stereotypes of melodrama, audiences are encouraged to boo and hiss and throw popcorn ( $1 per generous bag ) at the villain. They have a great time ( yeah, bring kids ) and eventually I found it contagious.
Most of the credit for my conversion goes to the cast, especially Keith Cavanaugh as villainous Lawyer Cribbs. Using a ramp through the audience, the cast literally takes the show to the seats with numerous ad libs to the interactive crowd. Cavanaugh has the most opportunities. Some of his ad libs are pat and rehearsed, but many are not, and he proves himself a master of the moment.
Manilow's songs are pleasing enough but certainly don't presage his later musical accomplishments. The highpoints are the production numbers Have Another Drink and Do You Wanna Be Saved. The show also incorporates actual 19th-century songs, such as It's a Sin to Tell a Lie and Curse of an Aching Heart.
Musical director Allison Kane guides her three-piece band and the well-voiced company with skill and confidence. Kerrie Anne Korzatkowski supplies surprisingly elaborate choreography in a small space, cleverly stretching a kickline with life-size dummies.
The enthusiastic company, who are better than they need to be, won me over. They'll win you over, too.