Cancer isn't funny. It kills people, and continues to do so while scientists do research, patients suffer through clinical trials, the religious pray. More people are cured these days, but many still die.
"Unbeatable," a musical that opened at the Westport Playhouse last night, takes a different tack, not yet approved by the Food and Drug Administration. Only a minor character dies, and not on stage, as happened in another cancer play, "Wit," produced as part of the Rep's Off-Ramp series a few years ago. But that was a serious drama and this is a light entertainment, so deeply in denial it might be floundering in that Egyptian river.
Eric Coble's book deals with a highly arrogant, rude, officious middle-management type, so self-centered and unlikeable I listened extra-hard to discover if anyone cheered when her diagnosis was announced. Kristy Cates played the role to the hilt, and a sound technician did her no favors by emphasizing a harshness in her voice, making both her speaking and singing
extremely distasteful in the early going. Things got better later, but she had already lost the sympathy vote.
Todd Schroeder and Kevin Fisher combined on music and lyrics, and some are very good, and music director Henry Palkes drew excellent harmony and group work from his nine singers. The ensemble performances in the opening number, "Done," got everything off to a raucous start, and the second act opener, the hilarious "Miss Chemo," with candidates Cates as Miss Drip, Michele Burdette Elmore as Miss Nausea and Pamela Reckamp as Miss Exhaustion, was a true show-stopper. Elmore and Reckamp were outstanding throughout as patients and in several other roles. Cates stood tallest in the musical numbers. Rissa Crozier's costumes added over-the-top flair.
John Flack, as a pastor and in a number of other parts, never missed a beat, and a moment when he posed as one of those overseas people we've all tried to converse with while trying to solve an internet problem was absolutely brilliant.
"Options," by the ensemble, was another fine number, as were "Supershake" by Cates and her best friend, played with real loyalty by Charity Dawson; and "Pharmacy Song," a nifty performance by Mark Kelley. When Schroeder and Fisher tried to get serious, well, things were less impressive, especially in "Hold on to Love," which was a second-rate tribute to or rip-off of Richard Rodgers and Oscar Hammerstein's "You'll Never Walk Alone," the powerful anthem from "Carousel."
Elise LaBarge was effective as the prosecutor in the silly plot that had Cates "on trial" for having wasted her life. A trained opera singer, she added considerable strength to the vocals.
Stellie Siteman donned the judicial robes for the "trial" and also portrayed Cates' mother, handling both roles well. Landon Shaw had the thankless role of Cates' husband, seemingly written as an afterthought and performed in a style to match.
Director Michael Barnard did terrific work with his nine-person cast on a rather small stage, staging dance numbers and physical action with real style on a versatile set by Robert A. Kovach.
At the Playhouse at Westport Plaza
–Joe