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r e v i e w s
convertible
presented by La MaMa E.T.C. through 6/28/98
212-475-7710
by David Fisco
Elizabeth West Versalie's and Peter Dizozza's musical drama, Convertible, challenges theatergoers to take a journey into the Unknown. In the Unknown, one encounters terrorism, homosexuality, the power of mass media, racism, the transgressions of corporate America and the prevailing need to reinvent oneself to adapt to the constantly changing demands of society. This show is not The Sound of Music.
It is a compelling and riveting theatrical event that advances the state of the serious musical drama. The Convertible, a lesbian bar in the East Village, represents the Unknown. Penny, a computer expert, hesitantly enters the Convertible, lured by her interest in a lesbian lifestyle. While there, she develops an attraction to Lucy, a TV newswoman. Also present are Herc, a straight African-American man who wants to confront Lucy over a racial story; and shell, a man recently laid off from his concierge job at the Plaza Hotel. Shell is now the leader of the Manhattan Militia, a group that plans to blow up the Trump Tower that evening. He intends to take everyone hostage and use Lucy to receive air time for his terrorist group.
What ensues is a surreal game of control, where each character displays a state of perpetual metamorphosis. In the end, they learn that they must trust the chameleon nature of the human spirit and remain open to the changes mandated by the Unknown. It is the creative team's focus on the Unknown that prevents the material from falling into chaos. Although the work has a lot to say, it always stays on track.
In this musical, the principal characters do not sing. Instead, Yvonne and Billy, performers in the house band at the Convertible, provide musical commentary as the drama unfolds. Dizozza and Versalie have given them a simple, but effective score. Michael A. Ballos (Billy) provides an eloquent and beautiful voice. His song, "Shell's Variations," is mesmerizing. Ballos and Lisa Dery harmonize well together.
Pamela Lehman (Suzanne, the bartender) does not commit emotionally to her performance. Cody Smolik (Penny), Kate Lunsford (Lucy), Cezar Williams (Herc) and J.R. Robinson (Shell) deliver admirable performances as the bar patrons. They work well as an ensemble. Director and choreographer Tyr Throne does an excellent job of creating a surrealistic atmosphere for the piece. At the same time, he works to make the events believable and urgent. The only uneven element was the Billy character. Throne seems to have directed Ballos into a highly effeminate performance that is out of balance with the rest of the piece. IT was the only component that hampered the believability.
Anyone interested in the development of the musical as a serious dramatic art should rush to see Convertible. Everyone else might do better if they stick with Cats.
David Fisco has served as an editor-in-chief and editorial consultant. He is a New York SAG actor and AFTRA newscaster. You can reach him at davidfisco@usa.net.
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