Entertainment :: Theatre
High Fidelity by Joseph Erbentraut
EDGE ContributorSaturday Aug 22, 2009 The transition of a story line between mediums is always a tricky equation, requiring close attention to detail in order to maintain both authenticity, interest and, particularly in these economic times, profit margin. There is perhaps no transition more hazardous than that of a story based on a book, popularized by a film and re-packaged as a Broadway musical.
Thus has been the struggle of High Fidelity: The Musical, which opened this week for an extended run at the Piper Alley’s Theater. The production, launched by Route 66 Theatre Company, is the first major offering of the show since it tanked during a short-lived run on Broadway in late 2006. The show closed after only 13 performances and was panned by most theatre critics, including the New York Times’ Ben Brantley’s comment that it deserved a spot on his top-five list of "all-time most forgettable musicals."
At least, with a history like that, Route 66’s valiant remount of the show avoids the weight of too-high expectations. This is just one of many reasons why the Chicago production centered on the story of Rob, a neurotic thirty-something record store owner’s failed relationships seems likely to have a much more successful run this time around.
First of all, the music is compelling, owing to the talented crew of folks who created it. Tom Kitt, who composed the show’s music, won a Tony earlier this year for his work on Next to Normal. Lyricist Amanda Green has also been recognized for the songwriting ability within her blood as the daughter of Phyllis Newman and Adolph Green. The score, never dull, pulls influence from genres as divergent as gospel, rap, rock and even the sounds of a sitar make a cameo.
Second, the casting is spot on. As Rob, Stef Tovar, who is also Route 66’s artistic director, rocks the Cosby sweater and smacks of desperation in all the right ways. As his love interest, Laura, Tricia Small acts the part of buttoned-up corporate lawyer to a tee - almost too nonchalantly, in fact. A strong ensemble of Rob’s ex-girlfriends and record-hunting burn-out customers add depth to the show’s musical and visual reach.
But the show is truly stolen by Rob’s fellow employees at Championship Vinyl -- Barry, played by Jonathan Wagner, and Dick, played by Michael Mahler. Both actors capture their roles with uncanny accuracy, adding a new dimension for fans of the book and film with their musical talent. Both played multiple instruments throughout the show and Mahler, in particular, had the strongest singing voice of the cast. His performance as the meek but goodhearted Dick was brilliant.
Granted, this show still has many kinks to work out, perhaps owing to the fact that it is the first new production in the house that Tony ’n Tina built since the tourist favorite ended its 16-year run earlier this year. The sound was all over the place, the blocking felt labored and the lighting was iffy, even amateurish, in places. And though their acting was strong, both Tovar and Small’s singing abilities were overshadowed by other, more musically-inclined cast mates.
But this really isn’t a show to nitpick. The musical production of High Fidelity is campy, good fun and it is clear that Route 66 has poured a lot of effort into its hopes of making the Broadway mess into a Chicago hit. Yes, it has its fair share of technical flaws and yes, the cast’s performances felt uneven at times, but in the end, this is definitely an entertaining show. Whether enough Chicagoan theatergoers will agree, however, remains to be seen.
High Fidelity plays at Piper’s Alley, 1608 N. Wells St., through October 11. Performances run Thursdays and Fridays at 8 p.m., Saturdays at 4:30 and 8:30 p.m. and Sundays at 3:30 p.m. Tickets and more information are available at www.hifichicago.com or by calling (312) 664-8844.
Joseph covers news, arts and entertainment and lives in Chicago.
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