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THEATER REVIEW

Was it ever a picket fence? Next Theatre combines Bernstein opera with new works in show about the American Dream
By Barbara Vitello | Daily Herald Critic at Large


Whatever trouble it takes to get to Evanston 's Next Theatre, Leonard Bernstein's jazzy "Trouble in Tahiti " is worth it.

An erudite chamber opera exposing the reality behind the myth of the perfect 1950s American marriage and satirizing the vacuous consumerism behind the suburban ideal, the brief and haunting "Trouble in Tahiti " gets few revivals. When a good one comes along, aficionados flock. I expect they'll flock to Next Theatre for Jason Loewith's intimate, thoughtfully imagined and vibrantly sung production.

The opera makes up half of "The American Dream Songbook," a smartly conceived double-bill, whose second act consists of new songs by young (mid-20s to mid-40s) composers who examine various incarnations of said dream. The subject has inspired countless American writers and composers. Loewith and set designer Collette Pollard acknowledge them by lining the walls with images of Pulitzer Prize winners Odets, Miller, Mamet, Wilson and others, whose distinctive meditations on the subject reflect American theater at its finest. Flanking the stage are images of Rodgers and Hammerstein (Bernstein's precursors) and Sondheim (his successor). For a show that looks to the future while paying tribute to the past, it makes a fitting homage.

Sacrificing plot for mood, "Trouble in Tahiti " unfolds as a day in the life of the unhappily married Sam (an appropriately chilly James Rank) and Dinah (a vulnerable, Karen Doerr). It takes place against a mirrored backdrop reflecting an audience that may well recognize themselves in the soured American dream that plays out before them. The musical is narrated by the breezy, well-matched trio of Jason Bayle, Brandon Dahlquist and Bernadette M. Garza. Bernstein's version of a Greek chorus celebrates consumption, providing an ironic counterpoint to lives mired in disappointment. Sam and Dinah regret the disintegration of their marriage, but neither knows how to restore it and recapture the love they've lost.

Behind their sun-kissed suburban façade, Sam and Dinah live lives filled with longing and regret. Sam retreats to the office and the gym where he pummels his opponents to prove he's a winner. Dinah confesses her despair to her analyst in the hushed, moving " A Quiet Place ," beautifully sung by Doerr, and later loses herself in the movies, recounted in the show's sole production number, the jolly, Calypso-inspired "Island Magic."

What began with an argument concludes with a tentative truce. Little has changed. What's apparent is that Sam and Dinah's reality has fallen far short of their dream, a point underscored by Jason Fassl's evocative lighting in which a harsh glare punctuates dark shadows.

That sentiment also underscores the second act where songs address dreams of intimacy, beauty, fame and fulfillment. The performances are top-notch. The songs are a mixed bag with Michael John LaChiusa's sly, comedic "Betty, the Clam Girl," about an ugly duckling who pays a high price to become a swan or the best of the bunch. Picking up where Bernstein left off, House Theatre of Chicago composer Kevin O'Donnell puts a lilting coda on "Trouble in Tahiti " with his earnest "Fear of Failure" featuring Sam and Dinah's 21st-century counterparts. Rounding out the revue is the jaunty, ragtime-inspired "This Little American Dream" by Joshua Schmidt. A paean to pop culture titled "The Rise and Fall of Britney Spears" by Michael Mahler cleverly borrows from the pop tart's own repertoire. And Michael Friedman's "Things We Wanted: A Murder Ballad" contains an interesting gem of an idea than never quite coalesces into a good tune.

"The American Songbook" - 3½ stars out of four

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