Playwrights: Nash, Schmidt and Jones
At: Light Opera Works at Cahn Auditorium, 600 Emerson, Evanston
Phone: 847-869-6300; $25-$75
Runs through: Aug. 27
By Jonathan Abarbanel
Few local critics—maybe none—have seen this rarely-produced, early-1960s musical based on N. Richard Nash’s smash play and film, The Rainmaker. Even I hadn’t seen it, although I HAVE performed in a production of it, which surely makes me unique among local reviewers. Its lack of reputation reflects a very modest original Broadway run rather than its merits. Musicalized by Nash himself and the team that wrote The Fantasticks, it’s faithful to the play, complete with a tuneful and atmospheric score.
Set in the rural Great Plains during drought-ridden years of the 1930s, the work positions romantics against realists. They contend for the stifled emotional life of Lizzie Curry, nearing old-maid status as homemaker for her rancher father and brothers. At the extremes are the charismatic, dream-spinning rainmaker, Starbuck, and Lizzie’s brutally frank brother, Noah. Most characters fall in between, especially Lizzie herself and the strong, silent local sheriff, File. It’s a slice of Americana set during that period when many rural areas still lacked running water and electricity, and old-time snake oil salesmen still could be found. Rodgers and Hammerstein might have written this musical with a poetic assist from Tennessee Williams.
Composer Harvey Schmidt and lyricist Tom Jones are at their best with lilting romantic numbers such as A Man and a Woman, The Hungry Men and Everything Beautiful Happens at Night. The hummable tunes have a touch of Mozartian profundity, emphasizing the plain-spoken poetry of the lyrics—really, the art that disguises art. There also are several big production numbers for the ensemble of small-town residents that also functin as a tenor showcase for Starbuck, allowing Larry Adams to unleash his considerable vocal powers. Jones and Schmidt have provided two new songs for this production, anticipating a major New York revival next year. However, there’s one element still missing from the show: a sorely needed Act II song for the underdeveloped sheriff’s role.
Staged by Rudy Hogenmiller, the show retains its gentle, romantic soul that is so out of keeping with the times. James Rank, wearing a sexy costume for a change, is sturdy of voice and stride as File (if only he had another song), while Elizabeth Haley is pleasing and touching as a Lizzie more Junoesque than usual. Roger Mueller and Karl Sean Hamilton provide solid support as Lizzie’s dad and brother, but Stan Q. Walsh—the only dancer among the leads—charmingly steals his scenes as the youngest brother.
Robert Andrew Kovach (scenery) and Andrew Meyers (lighting) simply but effectively overcome the limitations of old-fashioned Cahn Auditorium, flying small set pieces in and out, and using the chorus as cheap muscle. The 27-piece orchestra shines under Roger L. Bingham, playing the beautifully balanced original orchestrations by the great Hershy Kay.