Reviewed 9/18/04
In 1985, playwright Mark Harelik created a loving remembrance of the journey his grandparents made from a shtetl in Russia to Hamilton, a small town in the heart of Texas. Nearly twenty years later, Harelik in collaboration with lyricist Sarah Knapp and composer Steven M. Alper have created a chamber musical for four actors and four musicians that adds an extra successful element to the quaint remembrance. Those who consider Arizona Theatre Company the purveyor of the grandiose (as their upcoming production of The Pirates of Penzance will undoubtedly prove) will be pleasantly surprised how this co-production with Chicago’s Northlight Theatre manages to accomplish so much with restrained, well-envisioned minimalism. This is the type of chamber musical that is successful when produced by smaller companies, and ATC once again proves that it has the vision for the art itself, not just the product.
This is the story of two very different families, the Hareliks
and the Perrys. Haskell Harelik sells bananas from a cart after having been
relocated from Russia to Texas by an immigration project. Ima Perry and her
initially reticent husband Milton take the hardworking peddler into their
house and lives despite their hesitation about sponsoring a Jew. Bank owner
Milton funds Haskell’s transition from peddler to shopkeeper and Haskell
brings his wife Leah from Russia to recreate themselves into an American
family. Despite discovering and strengthening their bonds, the Perrys and
Hareliks remain very different from each other and sometimes these differences
threaten to sever their tenuous friendship. A lot of the success of this
piece is due to the wonderful music that has been added to the familiar plot,
a score that is filled with elegiac personal revelations and very specific
musical styles that sometimes ring with dissonant chords when counterpoints
present the differing views of the singers.
Despite the size of the theatre and stage, Director Randal Myler is somehow able to retain the all-important intimacy that draws these people close to us. The realistic blocking balances those moments when the performers must stand and deliver their solos. He avoids the feeling of disassociation that is a potential hitch in an episodic piece that spans so many decades. He has also gathered a cast making their debut at ATC that perfectly capture their charges.
Aaron Serotsky is impressive as Haskell. From initial tentative appearance to final strong statement, Serotsky embodies the character arc. His voice is generally strong, and he is always aware of those around him. Craig Spidle is a very effective Milton. He presents Milton’s stuffy ways without alienating him from the audience. This is a likeably gruff creation who shows his acting chops in some difficult moments.
Hollis Resnik is a very personable Ima. Though her accent is occasionally fleeting, her character’s resolve and quandaries are strongly personalized. She, too, has a very nice voice that is highlighted in her duets with Ana Sferruzza’s Leah. Sferruzza is picture-perfect as the hesitant immigrant. She embodies the spirit of the Sephardic Jewish woman and her movement from scared young woman to confident matron is remarkable. Hers is also the most lovely of the voices onstage.
Kimberly Grigsby’s orchestra (Lisa Laskowich on piano, Greg Armstong’s woodwinds, Michael Grossman on violin, and James Karrer on bass) is strong and quite supportive. They are able to accurately present the mix of Jewish melodies and American rhythms.
Ralph Funicello’s set is a successful series of selected parts of porches and houses before a painted backdrop and star scrim to emphasize the wide-open spaces of opportunity in Hamilton. Don Darnutzer’s lighting is expressive, and David Kay Mickelsen’s period costumes are once again spot on accurate of time and character. Brian Jerome Peterson’s sound design is flawless and effective.
Fatigue seemed to affect some of the singing on the opening Saturday’s performance, but not enough to distract from the enjoyment of ATC’s lovely production. If there’s anything to quibble with in this generally excellent evening, it’s the basic lack of strong conflict inherent in the piece. There are many musical moments of saying something will be done or changed, but not too much actual confrontation between characters until nearly the end of the two hour and forty minute evening. However, the strong spirit of the script and the excellent production recommend it as a lifting and enjoyable choice at the start of the season.