Cabaret Scenes Theatre Review

LoveMusik has all the elements of a successful Broadway musical - romance, haunting music, powerhouse performers, and Hal Prince, directorial royalty.

So why does the show leave a lingering unease?

Presented by the Manhattan Theatre Club at the Biltmore Theater, the story is the love/pain romance between composer Kurt Weill and his muse, Lotte Lenya. Weill's music, written with lyricists Bertold Brecht, Maxwell Anderson, Ira Gershwin, and others, include innovative popular songs and theatre music of drama and tension. As the barely simmering Kurt Weill and the flaming Lotte Lenya, Michael Cerveris and Donna Murphy deliver authoritative interpretations. Murphy masks her admirable voice by folding into Lotte Lenya's unique metallic tone. One problem, however, is the unnecessarily strong German accents both performers use. Really, a little Teutonic goes a long way to provide flavor without making the dialogue difficult to understand.

In general, however, so far so good.

Alfred Uhry's book is suggested by letters between Weill and Lenya. Huhry traces the romance through fits and spurts, which has relevancy to the up-and-down romance, yet prevents an emotional flow. There is little sustaining empathy for the passion that drove a love from 1924 to 1950, through political upheavals, separations, reunions, and infidelities. Without the flow, it is hard to care if their relationship lasts or not, just as long as Weill's exquisite music continues.

The opening introduces the shy cantor's son and intellect, Weill, and the free-spirited, promiscuous Lenya, who describes herself best by quipping, "I am common, Herr Weill, not stupid." Lenya has pulled up in a rowboat to transport Weill to his house on the lake. It is soon obvious that they are even more disparate than their religions, devout Jewish Weill and laissez-faire Catholic, Lenya. While the two are drawn to each other, their opposite natures remain in constant battle, sometimes driving Lenya to other romances. Cerveris' poignant "That's Him," refers to her affair with someone else, and his uptight pain is heartbreaking.

Brecht enters the picture as the era moves into the rise of Nazism, influencing the music they wrote together. David Pittu portrays outrageous politico/musician Bertold Brecht, with edgy brutishness. The partnership evokes reminiscences of the later Kander and Ebb show, Cabaret, where, interestingly, in the 1960s, Lotte Lenya appeared as Fraulein Schneider in Hal Prince's original production.

After separate moves to Paris, Weill, Lenya and Brecht eventually land in the United States. Unlike his companions, Weill is successful with his work. Lenya, encouraged by magazine editor, George Davis (John Scherer), builds a cabaret act and as a club singer, Murphy has the chance to perform "Surabaya Johnny," one of her strongest moments.

The three lead performers all have opportunities to musically emphasize the drama in their lives, including Murphy's rendition "The Alabama Song" while auditioning in Germany. Cerveris and Pittu are compelling mocking Hitler in "Schickelgruber." Murphy amd Cervellis are arresting in "I Don't Love You," and Pittu is over-the-edge sexy with "Tango Ballad." The famous "Moritat" ("Mack the Knife") is perfunctorily included.

Michael Cerveris renders a moving "It Never Was You," revealing the acknowledgement that what he really needed in life would never come from Lenya, but from his new love. After singing the song, his packed suitcase falls open. Lenya sees it and neatly, acceptingly, she places the fallen clothes back inside. Shortly after, Weill suddenly dies in 1950. Lenya is bereft. After an emotional "September Song," she turns to apply her makeup for an upcoming show. She will keep his music alive, and the poignancy that should have woven throughout the play is finally palpable.

Prince's expansive direction includes use of the orchestra pit and aisles. Howell Binkley provided theatrical lighting for Beowulf Britt's spare, moody sets, Patricia Birch's choreography is witty, and Judith Dolan's costuming clearly reflects Weill and Lenya's personalities.

While a creative approach to a musical, the episodic show is uneven and dissatisfying. Artistic or not, a love story must hit the heart, and emotionally, LoveMusik is not up to the standards of Kurt Weill's haunting love music.

LoveMusik is running at the Biltmore Theatre from May 1 to June 24.

Elizabeth Ahlfors
Cabaret Scenes
May 12, 2007
www.cabaretscenes.org

Elizabeth Ahlfors
Cabaret Scenes



	LoveMusik Biltmore Theatre New York, NY
LoveMusik has all the elements of a successful Broadway musical - romance, haunting music, powerhouse performers, and Hal Prince, directorial royalty. So why does the show leave a lingering unease? Presented by the Manhattan Theatre Club at the Biltmore Theater, the story is the love/pain romance between composer Kurt Weill and his muse, Lotte Lenya. Weill's music, written with lyricists Bertold Brecht, Maxwell Anderson, Ira Gershwin, and others, include innovative popular songs and theatre music of drama and tension. As the barely simmering Kurt Weill and the flaming Lotte Lenya, Michael Cerveris and Donna Murphy deliver authoritative interpretations. Murphy masks her admirable voice by folding into Lotte Lenya's unique metallic tone. One problem, however, is the unnecessarily strong German accents both performers use. Really, a little Teutonic goes a long way to provide flavor without making the dialogue difficult to understand. In general, however, so far so good. Alfred Uhry's book is suggested by letters between Weill and Lenya. Huhry traces the romance through fits and spurts, which has relevancy to the up-and-down romance, yet prevents an emotional flow. There is little sustaining empathy for the passion that drove a love from 1924 to 1950, through political upheavals, separations, reunions, and infidelities. Without the flow, it is hard to care if their relationship lasts or not, just as long as Weill's exquisite music continues. The opening introduces the shy cantor's son and intellect, Weill, and the free-spirited, promiscuous Lenya, who describes herself best by quipping, "I am common, Herr Weill, not stupid." Lenya has pulled up in a rowboat to transport Weill to his house on the lake. It is soon obvious that they are even more disparate than their religions, devout Jewish Weill and laissez-faire Catholic, Lenya. While the two are drawn to each other, their opposite natures remain in constant battle, sometimes driving Lenya to other romances. Cerveris' poignant "That's Him," refers to her affair with someone else, and his uptight pain is heartbreaking. Brecht enters the picture as the era moves into the rise of Nazism, influencing the music they wrote together. David Pittu portrays outrageous politico/musician Bertold Brecht, with edgy brutishness. The partnership evokes reminiscences of the later Kander and Ebb show, Cabaret, where, interestingly, in the 1960s, Lotte Lenya appeared as Fraulein Schneider in Hal Prince's original production. After separate moves to Paris, Weill, Lenya and Brecht eventually land in the United States. Unlike his companions, Weill is successful with his work. Lenya, encouraged by magazine editor, George Davis (John Scherer), builds a cabaret act and as a club singer, Murphy has the chance to perform "Surabaya Johnny," one of her strongest moments. The three lead performers all have opportunities to musically emphasize the drama in their lives, including Murphy's rendition "The Alabama Song" while auditioning in Germany. Cerveris and Pittu are compelling mocking Hitler in "Schickelgruber." Murphy amd Cervellis are arresting in "I Don't Love You," and Pittu is over-the-edge sexy with "Tango Ballad." The famous "Moritat" ("Mack the Knife") is perfunctorily included. Michael Cerveris renders a moving "It Never Was You," revealing the acknowledgement that what he really needed in life would never come from Lenya, but from his new love. After singing the song, his packed suitcase falls open. Lenya sees it and neatly, acceptingly, she places the fallen clothes back inside. Shortly after, Weill suddenly dies in 1950. Lenya is bereft. After an emotional "September Song," she turns to apply her makeup for an upcoming show. She will keep his music alive, and the poignancy that should have woven throughout the play is finally palpable. Prince's expansive direction includes use of the orchestra pit and aisles. Howell Binkley provided theatrical lighting for Beowulf Britt's spare, moody sets, Patricia Birch's choreography is witty, and Judith Dolan's costuming clearly reflects Weill and Lenya's personalities. While a creative approach to a musical, the episodic show is uneven and dissatisfying. Artistic or not, a love story must hit the heart, and emotionally, LoveMusik is not up to the standards of Kurt Weill's haunting love music. LoveMusik is running at the Biltmore Theatre from May 1 to June 24. Elizabeth Ahlfors Cabaret Scenes May 12, 2007 www.cabaretscenes.org Elizabeth Ahlfors Cabaret Scenes

LoveMusik

Biltmore Theatre New York, NY

Biltmore Theatre
New York, NY