Joe DiPietro and Jimmy Roberts’ entertaining musical revue about the trials and tribulations of love, marriage and everything else that follows richly deserves more attention than it receives outside of the musical theatre cognoscenti. Written in the late 90s, the comedy still resonates and the songs still hold firm.
Written in the late 90s, the comedy still resonates and the sparsely-scored songs still hold firm. ‘Shouldn’t I Be Less In Love With You?‘ is an efficient and pleasing life-affirming song. ‘I Will Be Loved Tonight‘ might echo ‘Somewhere That’s Green‘ from Little Shop of Horrors, but it Roberts’ sweet music manages to be just that little bit more satisfying. As for ‘Hey There, Single Guy/Gal‘ is a the kind of two-hander any armchair musical theatre wannabee would love to be a part of.
Not only that – brace yourself for the controversial point – I reckon it’s a more successful creation than it’s musical Godparent, Stephen Sondheim’s Company.
Such a strong view (which is bound to anger the Gods of musical theatre) has its roots in the Edinburgh Fringe production I saw this week.
This was my introduction to the show. From beginning to end, it was a hugely entertaining affair. Many heartfelt laughs and applause in response to immeasurable talent and energy made the whole thing a bit of a revelation.
Comedy’s no good if it’s not delivered with the appropriate timing. Musical theatre also has a tendency to amplify poor singing technique. Neither was found in UCLU’s Musical Theatre Society production. Quite the opposite.
There are future stars in the UCLU’s cast. They just need to keep their nerve, harness their talent, and make sure above all else that their passion doesn’t get crushed by anyone or anything.