Memorable music a bridge too far

Hey there, time traveller!
This article was published 24/05/2017 (2525 days ago), so information in it may no longer be current.

In discussing the stage musical currently on view at the Warehouse Theatre, let’s invoke an image from a movie musical.

Recall a scene in West Side Story in which the film’s punk Romeo, Tony (Richard Beymer), first claps eyes on his Juliet, Maria (Natalie Wood), during a dance at the gym. Director Robert Wise devised a way to put Maria in focus while everything else slips into a blur.

That’s kind of what happens during Winnipeg company Dry Cold’s production of The Bridges of Madison County, a musical adaptation of the bestselling Robert James Waller novel by Jason Robert Brown (music and lyrics) and Marsha Norman (book).

The focus of our rapt attention is Paula Potosky, who takes the pivotal role of Francesca, an Italian war bride living a life of isolation on an Iowa farm circa 1965. She is happy enough as the mother of two rambunctious teens, daughter Carolyn (Hannah Wigglesworth) and rebellious son Michael (Robert Piche), even though one senses a niggling dissatisfaction with her husband Bud (Simon Miron), a devoted but emotionally reticent man.

Enter Robert (Paul Essiembre), a handsome, glamorous (in a blue-collar way) National Geographic photographer on a mission to photograph the area’s claim to scenic fame, a series of covered bridges. Robert shows up at Francesca’s door looking for directions just as her husband and children have left her alone for four days to attend a county fair.

Much sexual tension results, although there will be no hitting the sheets before the end of the first act. The protracted flirtation allows some back story for each character. He has an ex-wife, Marian (Erin McGrath in one of multiple roles), who sheds some light on Robert’s solitary nature in the song Another Life. Francesca recounts her own history, rescued from the aftermath of the Second World War in the ruins of Naples by the stalwart soldier Bud.

Interspersed with this blossoming romance are chaotic episodes as Bud tries to keep it together at the county fair with his troublesome kids. Meanwhile, Francesca’s encounters with Robert are being viewed from afar by the well-intended neighbour Marge (Melanie Whyte) and her husband Charlie (Tom Anniko). 

For a work centred on an intense, intimate romance, the musical is hampered by a cumbersome narrative sprawl that accounts for a running time of nearly three hours, including intermission. (The relatively succinct Clint Eastwood-directed movie adaptation from 1995 was just over two hours.)

Fortunately, this production has Potosky. She anchors the play with an emotionally true performance augmented by a soaring soprano. This Maria makes Tonys of us all. 

That’s not to say there aren’t other good performances. As the sensitive, non-conformist Robert, Essiembre looks perfect in the role. But as much as you may admire his willingness to perform a selection of truly challenging ballads, his singing voice is just shy of his will.

A man’s reach should exceed his grasp. Except in musical theatre.

Director Donna Fletcher has a task in co-ordinating a wide variety of skill sets into a cohesive production, a task she manages to pull off with important assistance from the more seasoned performers, Whyte and Anniko. 

But another problem with Bridges is an affliction that affects many contemporary musicals, regardless of capable performers, a solid story, good production and resonant themes. 

Let’s call it NOGS Syndrome: Not one great song.

So it is with The Bridges of Madison County, in which the songs are enjoyable enough to hear while they’re being sung, especially by Potosky, but none stays in the memory beyond the trip home. For that, the overall wistful tone of the play is likely to transform into a wistful nostalgia for a musical along the lines of West Side Story, in which all the songs were great.

 

randall.king@freepress.mb.ca

Twitter: @FreepKing