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There's a possibility, albeit a faint one, that somewhere on our planet there's a soul who knows more about American musical theater songs than Cleveland radio producer Bill Rudman, but one thing is certain: No one could love them more. Both Rudman's encyclopedic grasp of material and his infectious enthusiasm for our most American of art forms are in brimming abundance in "Brother, Can You Spare a Dime?", now playing at Ensemble Theatre.
Thematically, the show concentrates on songs that illustrate their creators' interest in social issues, as the "not-so-secret weapon" that can make you think and feel at the same time. One of the dizzying pleasures is the sheer range of intelligent, pungent material Rudman has gathered to support his thesis. It's an literate and aural feast: from shows as diverse as Yip Harburg's "Bloomer Girl" to Garry Trudeau & Elizabeth Swados' "Rap Master Ronnie".
As directed by Jodi Lee Maile, this "concert for the stage" is edging ever closer to a fully-realized revue-style musical. The songs are superbly performed by four high-powered principal singers with sensitive accompaniment and arrangements by Marge Adler, with bridging narration/commentary and an occasional warble by Rudman. The production is a handsome one, with effective slide projections that help bring a social/historical context.
The show is loosely organized by topic: everything from economic disparities in American society (Harburg & Burton Lane's "When the Idle Poor Become the Idle Rich") to labor issues, suburban satire, gender issues, discrimination, and misplaced patriotism. It's an exhaustive list of social issues, yet the show is educational without feeling too preachy. The first act has a plethora of elegaic ballads, which occasionally slow down the tempo, but the second act is bursting with energy.
The performers sparkle in the material, and are different enough to provide welcome contrast. Elfin Kari Kandel has a pure high voice that soars in the contemplative ballads, especially Gretchen Cryer & Nancy Ford's "Smile". Adina R. Bloom has a dynamic, brassy belt with a top that can knock out the ceiling plaster. Patrick Janson has both a sweet tenor and comic chops: he shines in "I Am What I Am" as well as the towel-snapping number "The Locker Room". And Tony Sias has 1000-watt energy and a powerful presence that sells all his material, from the poignant title song to Melvin Van Peebles' seriocomic "Just Don't Make No Sense".
There are a few minor quibbles. Some of Rudman's commentary seems unnecessary, given how well the performers have embodied the emotional values, and tthe decision to segue on at times left the audience nearly aching to applaud. In the comic numbers and "Razzle-Dazzle" Bill Wade's choreography was delightful, but seemed too challenging in other places. And putting the text projections with the names of the musicals behind the performers' heads led to a frustrating exercise in head-bobbing.
But overall this is a musical with a bright future.
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